ADSL 2012 [ transformer ]
[
CONTENT
]
INTRODUCTION
LECTURES
#00 06
L #01
ADSL
TRANSFORMATION AND PLACE
CRAFTSMANSHIP TRANSFORMED
Mark Pimlott
Irene Curulli
13
L #04
L #05 L #02
37
49
55
TRANSFORMING THE PAST
CHANCE
INTO HERITAGE
Anne Holtrop
Gregory Ashworth
#00 08 TRANSFORMER
L #03
43
A CITY IS (NOT) A TREE Cino Zucchi
L #06 OBJECTS AND TERRITORIES Andrea Branzi
61
WORKSHOPS W #01
69
W #04
141
W #07
RUINS
FROM BED TO STREET
H IS FOR HOUSE.
Alexander Bartscher
Josep Bohigas & Daniel Cid
Christian Fröhlich
W #08
179
189
HELGOLAND FILIP W #02
105
W #05
WILL THE OBJECT BE
‘NONUMENTS’
TRANSFORMED BY A TRANSFER
Graeme Brooker
149
Geerts & Wannes Peeters
OF CONTEXT? Cyrille Berger & Laurent Berger
W #09
207
TRANS_FOR_MORE Spyridon Kaprinis & Maria Tsironi
W #06 W #03 HABITUS
123
163
PUBLIC SPACE ACUPUNCTURE Helena Casanova & Jesùs Hernandez
Lorenzo Bini
W #10 TO WEAVE OF NOT TO WEAVE? John Lonsdale
223
CLOSING W #11
231
#00 260 LIST OF NAMES
DOCUMENTING THE INVISIBLE Ramiro Losada
W #12
239
THE CITY: THE BUILDING: THE ROOM Sally Stone
#00 264 INDEX
W #13 ENOUGH IS ENOUGH ! Mathieu Wellner + Friends
251
[ ADSL ] ‘The Antwerp Design Seminars & Lectures’ – ADSL – is an international event that takes place each year at the Department of Design Sciences at the Artesis University College Antwerp (from October 1st 2013: Faculty of Design Sciences, University of Antwerp). Its aim is to stimulate cross-boundary thinking in design and to familiarize students in architecture, interior architecture, landscape and urban planning, with an interdisciplinary approach towards design problems. ADSL provides an international forum for faculty and student exchange. Simultaneously, it’s an informal platform to discuss current problems related to the education in design. The ADSL workshops explore the references on the yearly given theme and aim to investigate the ‘power’ of a variety of images and thoughts in landscape, architecture, engineering, interior design, monument care, through a poetic and personal intuition in order to reach beyond the specific discipline. A lecture series accompanies the whole event’s reflection. Students initiated the series in 2002 out of a need to look further en beyond the classical assignments based on programs. After a list of some events managed by the former dean prof. Richard Foqué, it was clear that ADSL needed to become a 6 · ADSL 2012 · [transformer]
specific appropriate platform based on contemporary items. This way themes as Sampling (2008), Serendipity (2009) and Happiness (2010) were the first to trace another content by dealing with images, coincidences and attitudes in the architectonic world. Congruence (2011), Transformer (2012) and Dissolution (2013) were pushing deeper into non-formal requests, the last one even having a double coding because ‘dissolution’ could also be read and spoken as ‘the solution’. Step by step the ADSL-workshops became well known in the institute as it was getting also some resonance in the European architectural context. People such as Jürg Conzett, Marcel Meili, Daniel Rosbottom, Raoul Bunschoten, Philippe Rahm, Mark Pimlott, Wim van den Bergh were giving guest lectures focusing on their proper research and projects as well as on topics related to a nowadays dealing with a broader view and theory based design. Workshop leaders, architects and/or artists, from different institutes such as the Architectural Association London, Akademie der Künste Wien, RWTH Aachen, Akademie Leipzig, TU Delft, Politecnico di Milano or even independent architects from Porto, Berlin, London, Madrid, were teaching during a five days workshop on 15 students per grou These results were more than the simple outcome
of a given task and program. Looking at the workshop results, it was a polysemous answer on all possibilities students could use and understand to trace an individual parcours. The notion ‘the best week of the year’ was given many times not only linked to the content of the work but also because of the atmosphere in the institute. The global themes, together with the results of the more than 150 workshops relate to a series of contemporary needs in architecture. In some way it is ‘Research by design’ but also ‘Scale Model 1:1’ and ‘Topos and Anatopism’: a wide range of open imaginations based on architecture as a profession. Finally it is on “Making projects” in which the meaning of drawings, models, future, plans, discourse, perception… is integrated, but always with architecture as reality. Today, there is hardly any notion more talked about than ‘research’ while mostly an adequate explanation on what can be stated as important for research in architectonic evolution is given. In this way all workshops introduced for ADSL were somehow exemplary on what searching and research are about. The titles as much as the introductory and/or result images of nearly all workshops underlined the content clarifying that it was not just about the gimmick of the good image, hardly to be traced if it was real or not but about the
stated reality of the discourse and critic in architecture as a main point of imagination. No loose interpretations were possible. The well-defined method of working during only five days for having the best results, the work intensity and finally the ‘grandeur’ showed all that architecture is a profession we all need to maintain and, being autonomous as a discipline, it is not just an activity of freedom but based on conditions out of as many as possible social and cultural fields. Christian Kieckens, professor Design Sciences University of Antwerp, ADSL coordinator 2008-2013
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[ TRANSFORMER ] In his book Aesthetics and Architecture Edward Winters points on Morphology of the Folktale (1928) by Vladimir Propp, a Russian formalist scholar, in which the notion of ‘transformation’ is introduced. Winters notices certain constants in the folktales under review: that there is a landscape, that there is a setting, that there are characters and so forth. However, in the individual folktale these constants undergo a transformation so that in this tale the character wears this form of dress, the setting is in this house within a particular landscape and so on. In short, Winters notices a unifying structure in the tales and see that this structure is transformed in each particular tale by its local character. Edward Winters, Aesthetics and Architecture, Continuum, 2007, page 66
As a word ‘transformer’ is widely known, but as an object it is always understood in a different way regarding the proper entourage. For some people it is the title of the Lou Reed album from 1972 while for the youngest it is the mechanical plastic toy by which strange person can be transformed into mechanic object. In the architectural world it is related to the project Rem Koolhaas developed for Prada; for the technical persons it stands 8 · ADSL 2012 · [transformer]
for the box that transforms high voltage electric energy out of the plant into domestic power supplies, still visually present in the American and Japanese urban context. As there is a so-called unifying meaning in the idea of transformer, we can argue that even by relating it into the world of architecture, a physical as well a mental or psychological concept can be given. While today debate and critics are becoming very important in design processes, from the regional and the generic to the original versus the reference, it becomes interesting to fill in the contemporary needs for new concepts creating other subject-object relations in each project. ADSL 2012 will explore the references on the theme of Transformer and aims to investigate the ‘power’ of a variety of images and thoughts in landscape, architecture, engineering, interior design, monument care, through a poetic and personal intuition in order to reach beyond the specific discipline.
Right Poles 07, The Japan Series, Andreas Gefeller 2010
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LECTURE
IMAGINATION, TRANSFORMATION AND PLACE
[ L #01 ]
[
INTRODUCTION
]
Mark Pimlott (Montréal, 1958) is an artist and architectural designer. Trained both as an architect and a visual artist, he works within and across the disciplines of art and architecture, and uses his interpretations of both to influence the making of each. His art takes the forms of photography, video, installation and permanent additions to existing places. His commissions for art for private interiors and the public realm come from individual clients, commissioning agencies, art foundations and institutions, private and public corporations. His individual efforts and his collaborations with numerous renowned architectural firms yield strategies and designs for both private interiors and the public realm. He is a graduate of McGill University, Montréal (1981); the Architectural Association, London (1985); and Goldsmiths’ College, University of London (1992). Public art works include Guinguette, Birmingham (2000); La scala, Aberystwyth (2003); and World, London (2002-10). His interior projects include Neckinger Mills, London (1988); Red House, London (2001; 2010); and restaurant Puck & Pip, The Hague (2007). He has exhibited his work in installation, photography and film widely. Solo exhibitions include Studiolo (1995/1996), 1965 (1997/1998) and All things pass (2008/2009). His installation Piazzasalone 14 · ADSL 2012 · [transformer]
(in collaboration with Tony Fretton) was exhibited at the 12th international biennale of architecture, Venezia (2010). Mark Pimlott has taught architecture and visual arts since 1986. He was appointed Professor in relation to practice in Architecture at TU Delft, the Netherlands (2002-2005), where is currently Assistant Professor in Architectural design/interior. His articles and essays have been published in numerous journals of architecture. His book Without and within: essays on territory and the interior, was published in July 2007. A book of photographs, In passing, was published in 2010.
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[  
LECTURE
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The word transformer as a metaphor suggests an agency through whose action an entity or force is changed into something else: transformed. As artists or designers, we might think of the act of making being like this. A place, for example, is made by ascribing significance to a fragment of the world, an act that can be effected by either a society or by an individual. Ancient Roman settlements were made according to a ritual that consisted of the selection of a territory for appraisal of its qualities by an augur. If all had augured well, a sequence of acts followed, determining the space of the city, or templum; the setting out of its major axes, the cardo and the decumanus, the survey of the site and the setting out of its major buildings, the layout of all the streets by the agrimensor, and finally, the making of its boundaries and gates. Joseph Rykwert, The Idea of a Town. (Princeton University Press: Princeton NJ, 1976)
The last of these acts distinguished the space of the city from that of the rest of the world; the foundation of the city walls, with a plough shared by a cow and an ox, constituted a sort of pact between the city and the earth, transforming a fragment of the world into a place with a name.
16 ¡ ADSL 2012 ¡ [transformer]
Such an act is characterised by its necessity. Making art or architecture is similarly a necessary act, but one borne of desire rather than utility. I would suggest that even the making of a city such as I have described is a matter of desire. Before any tools are raised, people interpret, imagine and, inevitably, represent the world before them. I am interested in how we confront the world and how we make it; how the world is encountered and interpreted; how it comes to be translated, represented and transformed. There are few opportunities to see how this happens in the present. The world is largely known; we understand that when we encounter those parts that are unknown or beyond our sight, we are infringing upon the space of others. This condition held true for the founding of the first European settlements in North America, which proceeded, at first, by the application of domestic urban models applied directly, if inappropriately, to conditions as they presented themselves. Later, abstract techniques were deployed, projected over territories considered as tabula rasa. The first strategies preserved the distinction between the world within and the world without that been forever germane to the making of settlements. A view of the settlement of Savannah, Georgia (1734) in
the American colonies, presents the first method clearly: the settlement exists in a clearing, surrounded by the dark forest, the domain of the other, the unknown, and danger. In this situation, the colonising Self considers himself surrounded by the Other: the clearing distances him from the moment of confrontation, of meeting. The latter strategies effectively liquidated the distinction between the two conditions. Recent sightings of new ‘un-contacted’ tribes in the Amazon have reminded us of that period from the fifteenth through the nineteenth century when Europeans breached the American space; of the projection of their desire, the genocide of indigenous populations that ensued and its shameful legacy. In the case of the United States, its space was usurped by a machine of territorialisation: the Land Ordinance of 1785, devised by Thomas Jefferson, cast a conceptual grid over the entire continental interior, rendering lands unseen and their occupants subject to an unavoidable system of division, occupation and destructive transformation. The Ordinance made it possible to command and occupy space without ever laying eyes upon it. The system was indifferent to conditions: neither topography nor demography would interfere with its logic. The other did not exist in this system,
which ignored and annihilated the other. This conceptual and pragmatic device — a non-hierarchical, fragementary system of antagonistic adjacencies overwhelmed the North American space. An infinite space shared by Man and nature was replaced by a system in which the Western invader was made to feel entitled to a parcel of land mapped out within a grid, upon a promise of self-realisation could be fulfilled. In the 1860s, the American West was pictured — for the purpose of military, geological and railroad surveys — as a new Eden; propaganda declared that it was America’s ‘Manifest Destiny’ to subjugate the continental interior: to occupy, master, and control it. The photographers working on the Great Surveys confronted a space that was strange to them, and hostile. They were impressed by the vastness of the space and its measure of time, and they made views that attempted to describe it. They photographed its indigenous people, both nomadic and settled, who had lived there tens of thousands of years. We know now that the photographers — such as Timothy O’Sullivan and Carleton Watkins — felt ambivalent about their part in the project of Manifest Destiny. The West was about to be torn apart: exploited for its geological resources; traversed by railways so that those resources could be ADSL 2012 · [transformer] · 17
transported to the growing cities; and militarised so that indigenous peoples were cleared, ensuring the promise of occupation for ‘European’ Americans. The photographers’ ‘views’ of the West were used as propaganda for investors and possible pioneers in the East, but there was another authority to these photographs: they made the condition of a primary encounter with the World and the Other first visible and palpable: that moment when one stands at the threshold of that which does not know, and touch it. It is a transformative act, a risky act: the boundaries of the self might dissolve; the self might lose itself in the World. The attitude of photographers such as O’Sullivan and Watkins involved movement toward the subject, and a loosening of ties with the self, so that in the picture, the specific nature of the subject is transformed, rendered visible, made present. Possibilities of primary encounters with a profound unknown were revived throughout the progress of the Apollo space missions in the 1960s. There were several positive outcomes to the missions: the most surprising, perhaps was the ‘rediscovery’ of the Earth from space. As astronauts flew around the far side of the Moon, the Earth disappeared and then reappeared, as 18 · ADSL 2012 · [transformer]
Earthrise. This vision of Earth — familiar, a blue orb laced with a delicate veil of clouds — threw us back on ourselves, and made us want to know the Earth again as some sort of great Being, to revive our sympathy for our planet and all mankind upon it. This utopian sentiment seems almost impossible to imagine now. As for this other world, the Moon, the pictorial documentation from above, and in and around the six Apollo landing sites echoed the experience of the photographers of the spaces of the American West precisely a century before. They found themselves alone on another world, contemplating great dimensions, beginnings, and the contingency of everything; the fragility of the Earth and the fate of Mankind. ‘For all Mankind’ documentary film, 80 minutes; Al Reinert, director and producer (1989)
I was a child in those days, living in a tract house in a suburb of Montréal, a city of about three million people that was the centre of a network of trade spread across the entire continent until the midnineteenth century. Our house was about 100 metres from the motorway that ran east and west from the Atlantic Ocean to the Pacific; the trans-continental train line ran parallel to it; the international airport was just a couple of kilometres to the east, and
Right Shadow of Buzz Aldrin’s helmet NASA, 1969
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the city centre — downtown — was a few kilometres further east. The city was undergoing tremendous transformation in the 1960s, hauled into hyper-modernity by a radical plan to create a multidimensional, megastructural downtown core; the construction of a complete network of urban motorways, many of them aerial (described by the mayor as necessary as a circulation system is to the human body); the building of an underground mass transit system; and finally, the making of a Universal Exposition of the first rank, an ideal city of utopian architecture set on artificial islands created in the middle of the mighty St-Lawrence River, which set the scene for the whole city. In 1964, my parents arranged to have the driveway of their suburban tract house repaired. A clearing was made, and four wooden stakes were hammered into the ground; string was tied between them to form a sacred rectangular clearing of gravel. My mother had just taken me to visit the Tutankhamun exhibition at the Musée des Beaux-Arts, and I took the catalogue out to the clearing to read about the politics of Egypt’s Eighteenth Dynasty in the Fourteenth-century B.C., and to look at the mystical ‘canopic’ chests that were to have stored the king’s internal remains. Sitting in the middle of that space, and looking around at the neighbourhood, the passing 20 · ADSL 2012 · [transformer]
cars and trains and planes, I was suddenly and acutely aware of the place I was in being one place of many places, and that it was connected literally and in my consciousness to all other places and all other times. I understood myself to be in a location that was at once specific, and at the same time a place with intimations, suggestions, and evocations of other places, the World and the cosmos: a conceptual settlement of almost infinite dimensions. It was a revelation, a moment of consciousness of continuity, the contingency of everything. Thus, this clearing in the banlieue was transformed into a fragment of All through acts of interpretation (or misinterpretation) and imagination. I was, as yet, unaware of Marshall McLuhan’s idea of the ‘global village.’
A little later — and perhaps under the received influence of the mediagenic McLuhan — it was natural that I should regard the products of the time, regardless of their purpose, to be kindred articulations of the state of mind of the epoch: Minimal Art could be seen alongside filing cabinets, office partitions, office buildings, or mass-produced tract houses, as poignantly described by Dan Graham in his piece Homes for America.
rock bears his life until he returns; Narcissus looks at his reflection in a pool and thinks that it is another returning his loving gaze. In more modern reflections, Shakespeare, in The Winter’s Tale (1611), describes the perfect sculpture of a beloved woman thought lost and dead, a likeness that finally crosses the threshold from representation to life, with great emotional effect. All of the protagonists of these tales got it wrong, quite correctly.
Dan Graham, ‘Homes for America’ Arts Magazine,
It is quite correct to take things and places, or more precisely, their appearances, to be representations. The appearances of things and places are outward resolutions of their intentions, and like all such undertakings, are compromised by shortcomings, interference or imperfection. Think of how one makes work, or even a photograph, and the object or image does not precisely resemble what one had in mind. Think of how normal objects assume slightly different appearances in different countries, despite fulfilling precisely the same tasks. For differences to disappear, an orthodoxy — an International movement of the normal — must be enforced. Perfection has no movement: it offers stasis. Appearances, as representations, reveal desire, hope and failure. Representations tell us what we want to say and who we want to be. Representations are
winter 1966/67
Later, it was pointed out to me that this was a misinterpretation of Minimal Art, whose intent was to effect a direct and specific relationship between the viewer and an object in space, and not to allude to other things at all. My reading, therefore, was a misreading or misinterpretation; and it seems that this order of error permeated my reading of the city and its spaces, too. Habitually, I took one thing for being something else. Yet this is the premise of representation: one takes something for being something else, in an act of belief. Like trans-substantiation, it is a transformative act. The fundamental stories or origins of representation reveal moments of disruptive power: the outline of a shadow of a departing lover traced on a
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utterances; in making the whole world, we speak our thoughts, often poorly, occasionally touchingly, with great beauty. Our towns and their buildings and places assume appearances differently, depending on where they are: they represent the way things are done and thought about in those places; their conventions, nuances and fashions; their fantasies of other times and other places. Oscar Wilde said, “To me, beauty is the wonder of wonders… it is only shallow people who do not judge by appearances.” It is right to acknowledge representation, and do precisely what it asks of us: to find the life within it. Michelangelo Pistoletto made art in the 1960s — such as his Mirror paintings, or the Oggetti in meno (Minus objects) — that suggested that the movement toward and through representation was necessary: it was the movement of self to other, and its symbol was the passage through the mirror. Once inside the looking glass, one might engage with others and representations and transform them — and the world of representations — according to one’s desire. This is the attitude I emulate as I make pictures and consider the nature of places, as I make objects and scenes and settings. I think of this work as making clearings for consciousness. I accept representation and 22 · ADSL 2012 · [transformer]
its necessity; I accept representation as the vehicle to understand the World. I want to make pictures and places as vehicles, or frameworks or platforms through which people become more conscious of themselves and others and of their place in the World. I want to make specific places that are both here and elsewhere, whose specific nature is in the here and now, but — necessarily — contain ideas of other places, other people and other times. The issue of my work is the recovery of the World for the individual’s imagination; its object is consciousness, transformation and freedom. The work I make contrives its own, new, clearings in which both the work and its context appear as pictures of themselves: as pure representations. One finds oneself at once in a real place and within the space of representation: it is a space in which everything can be transformed.
Right Mirror painting Michelangelo Pistoletto 1961
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Studiolo In Studiolo, an installation I made in an art gallery in 1995, everything could be described as an art object, whether it was a painting, a sculpture, a photograph or a room. However, each object was incomplete, in that each was dependent on adjacent objects or the gallery itself for its existence. Each object was a version of or a substitute for something else. A black and white painting resembled a silvery surface of the same size on an adjacent wall that suggested an opening into another, shimmering but uncertain, world. Another sculpture looked like a wall under construction, but was made like a painting, with a stretcher. A large photograph right next to it apparently pictured it, and what appeared to be the arrangement of rooms of the gallery itself, while they were under construction (it was in fact a photograph of another, generic, gallery). A sculpture on the floor resembled a picture or painting of a Minimal sculpture and at the same time, the arrangement of floor tiles of the gallery upon which it rested. In another room, every profile was drawn over with black lines, so that the room was simultaneously a drawing and picture of itself.
The gallery, typically proposed as an ideal space, was, also, a representation. Each artefact and situation was, therefore, a picture of itself and something else: the viewer was inside a picture whose elements were contingent, unstable and mutable. The viewer was immersed in this environment of representation, and could become continuous with its artifice.
Right Art from Studiolo 1995 photograph Peter White/FXP
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Photographs In making photographs and films, I recognise that things and places are both what they are and what they are not; that in being tools or gestures or accommodations or arrangements, things and places embody ideas. They are subject to the characteristics of representation, and so bear both the aspirations and failures germane to representation. Making pictures requires a certain order of attention; one must be alert. One must be aware of the predilections and predeterminations of one’s own character, knowledge and fantasy. In making pictures, as in making places, one is obliged — paradoxically — to be at once as open and as knowing as possible. In making photographs, I have been looking for a very long time to find a place that I recognise completely, a place where the World appears. I have been looking endlessly for — and making pictures of — something that is completely indeterminate: clearings for consciousness. People have said that my photographs make everywhere look like one place, and to some extent this is true: although the places I picture have their own specific ways of imagining themselves and therefore of making their appearance in the World, they often make themselves with the image and fantasies of other 26 · ADSL 2012 · [transformer]
places in their ‘minds.’ The imagination of a place — its genius loci — is defined by what it (the place, its people) knows, what it cannot know (the unknowable, the other) and what it wishes for. When one can see the World as it reveals its imagination, even momentarily, then the business of language and representation is dispensed with; one has arrived at the centre of things, where there is an intimate, continuous relation with the World, where there is no difference between the self and the other. All places become one, great place.
Top Praha CZ 1990 photograph Mark Pimlott Bottom Łódz´ PL 1994 photograph Mark Pimlott
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Places In projects for places, I have tried to understand the fictions from which these places have sprung and that have structured their existence at some time in the past or the present. By proposing simple but precise additions or modest alterations of existing conditions, I have wanted the present (and we who live in it) to be reconciled with these fictions and the past. In all these projects, interventions are contrived as thresholds or frameworks so that a kind of meeting between people and the city can take place, where the city is presented as something to be consciously seen, as something consciously assembled. I hope that my additions clarify or even re-invent the structures of the city in situations where it is its most vulnerable. The interventions, of course, become part of the city, and disappear.
Right Volgograd Coventry 1999
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1/6 Place Jacques-Cartier This project, made in collaboration with Tony Fretton in 1990, proposed a monumental surface for Vieux-Montréal’s Place Jacques- Cartier, an important urban space that had been sacrificed to the effects of tourism. The surface was shaped so that it would resemble the streets and unconscious places typical of the city’s topography. The ground was conceived as a portion of the granite land mass or ‘shield’ that the city is built on, whose form emerges inadvertently in the profiles of streets and empty parking lots in the city: a ‘psychic’ landscape that people experience every day but rarely acknowledge consciously. The surface sloped down from the Hôtel de Ville to the Vieux-Port, filling the entire space available between buildings, like some granite glacier. Because of its exaggerated profile, views across the square were partly obscured. It was our intention that the continental topography, untamed, had reappeared in the midst of this city won from the wilderness. Adjacent to our geological ‘incident’ was a vacant lot, which was also opposite the neo-Baroque Hôtel de Ville: we intended this space to be planted with wild grasses and overrun with flowers and local wildlife. Beneath this field and the granite surface, we proposed an enormous underground car park, in which the 30 · ADSL 2012 · [transformer]
foundations of buildings positioned above were visible and re-clad, like monuments, in marble. The ruins of an ancient château covered by the present-day square were also exposed to view and to use — cars could park right next to it — and the gathered ensemble of true and ersatz monumental forms were specially illuminated (very much in the manner of the foundations of the ancient Louvre) in order to confuse the high- and low- cultural spaces of Montreal’s ‘ville intérieure.’ 2/6 To other places, Volgograd In two unexecuted projects for Coventry made in 1998, To other places and Volgograd, I wanted to re-evaluate the utopian constructions of the 1960s and 1970s, and reconcile their positive origins with the negative and dismissive associations that they had accumulated. Here, the motorway was to be inscribed with a motto — To other places. The flyover became, briefly, a monumental bridge, instructing passersby those distant, destroyed cities that Coventry was ‘twinned’ with. The motto also functioned precisely like a motorway sign, dumbly pointing to the myriad destinations that the flyover indeed served. Under the flyover, a restored 1970s concrete ‘park’ (designed by Soviet architects as the cities of Coventry and Volgograd — formerly Stalingrad were ‘twinned’) was to
become a fantastic landscape, experienced by the passerby as though from an airplane. Its various mounds would suggest hills studded with little lights to call to mind villages illuminated at night. Other mounds sprouted fountains, which, with coloured light, would become, for a moment at least, volcanoes. 3/6 Guinguette This project for Birmingham transformed an unwanted part of the city — again, under an inner city motorway flyover — into a pleasure garden, or Guinguette, akin to those which existed outside the walls and legislative structures of Paris at the end of the nineteenth century. It was inspired by the marginal character of the site, its specific, albeit generic, topography and its relation to a tiny fragment of urban ‘nature,’ which for a moment made one believe while looking under the flyover, that one could leave the city and find somewhere to wander. The flyover provided a shelter from the rain, and directly beneath it, the little patch of land visible from a distance assumed an even greater importance. I strung a loose network of lights under the concrete structure, so that it was festooned for a festive occasion. Patches of light projected onto the ground suggested pathways and areas of dappled sunlight in glades of trees.
4/6 La scala This work emerged in the context of a visual arts competition for a permanent artwork for a university campus plaza in Aberystwyth, Wales, on the west coast of Britain, next to the Irish Sea. The plaza, which is in public use, is high above the town, overlooking the landscape and the sea. It was designed in the late-1960s in a Brutalist style, executed in pre-cast and in situ concrete. Everyone knew the plaza as the Piazza. The architects’ drawings described it as such, and people took it to be so. It was surrounded by a number of the University’s quasi-civic buildings: the Arts Centre, Library and Student Union. An exhaust tower for the main boiler room situated beneath the Union building standing on the piazza was known as the Campanile. A ten-metre wide staircase pierces the piazza’s surface, descending to the rest of the University campus and the town below. The appearance of the ensemble was forlorn: very few people had stopped to enact the civic life that the architects and the heads of the University had envisaged and hoped for. Nevertheless, people stood or sat at the open side of the Piazza to look at the town and the sea, and there is a heroic as well as a civic character to the original architecture.
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I proposed a monumental object on the Piazza that would act as a partner and a foil its existing components. It is a great, isolated staircase, detached from all other structures, ten metres on each side and six metres high. Loosely angled towards the sea, it provides a series of terraces upon which students, staff and visitors (it is a public rather than exclusively academic place) can sit, sunbathe, talk and look at the view. During summer months, the staircase is used as an outdoor auditorium for a variety of performances. Visually, it is connected to the foyers of the Arts Centre building; the Student Union building uses its sheltered space as a loggia for eating and drinking. Arriving at the Piazza from above, the stair forms a monumental partnership with the Campanile, and appears as a strange object, at once monumental and tenuous, mute and transient. Arriving from below, the stair looms above the Piazza, its great steps appearing to climb to the sky. I called the staircase La scala in deference to the entire ensemble, and to participate in those conscious evocations of ‘elsewheres’ that informed the making of this part of the campus. The piazza was intended to be a great platform for observing the World, ennobled by buildings for thought, entertainment and sociability. The architects used the imagery 32 · ADSL 2012 · [transformer]
of the classical world and the Italian Renaissance to excite a sense of nobility to those studying at this place at the edge of the World (or at the edge of Britain, at least). I wanted this idea — an existing idea — to become visible and vivid again, and real. From the piazza, whose monumentality is revived, one climbs the stair in an earnest effort to be closer to the sky and to be high above the earth. I wanted people to feel as though they were suspended in the air, poised above the World, as noble — or as divine — as the architecture and landscape around them. 5/6 World This is a public square, proposed as a permanent work of art for the BBC, in the centre of London, called World. It connects the buildings of the BBC’s expanded Broadcasting House to each other and to the city around them. The project is complete, yet access to the site is not possible until next year, 2013. People can stand on it and walk over it, like any other pavement in the city. Its surface describes an imaginary fragment of the globe, marked with lines of longitude and latitude and the names of hundreds of places. Lights scattered across its surface suggest the habitats of Man as they might be seen from high above, or the stars of the Milky Way in a flight of one’s imagination. Voices
whisper in different languages from the ground, drawn from foreign language broadcasts of the World Service. Names of places have been chosen based on things I remembered over the years, picked up along the way. All sorts of places are there, and each evokes all sorts of things: capitol cities, great rivers, sites of catastrophes, resorts, the origins of Man, even myths. As one walks across the surface, it is inevitable that they are read. The names and the sounds they create as they are read together create the possibility of a poetic litany that rouses myriad — either vivid or disruptive — associations and images. Inspired by flying over the earth at night and listening to late-night broadcasts, the entire square as it is seen, heard and felt is intended to evoke the mystery of elsewhere; another world, familiar, distant, strange: our great dwelling. In making World, I thought, again, about the second astronaut to walk on the Moon, Buzz Aldrin. He spoke of flying in orbit over the Earth at night, and looking down to see the fires of nomads scattered across the desert, imagining them under the stars in whose midst he was suspended. This image of the Earth as the home of Man provoked profound empathy in him. ‘For all Mankind’ op.cit.
The continuity, the unity of Man and the World in its entirety was clear to him. Perhaps it is this consciousness that is the great transformer we should seek. 6/6 Piazzasalone To end, I will describe briefly the installation I made in collaboration with Tony Fretton at the last architecture Biennale in Venice, in the Arsenale, called Piazzasalone. We assembled objects and spaces that we had worked with for a long time, drawing on our own built works, and re-presenting them as figures of a place whose character was at once urban and interior, a complex of places where people could meet and be conscious of themselves and their relations to other people, places and times. The character of the place subtly shifted from the urban to the domestic through the placement and relations between representational objects. Their play evoked a small, monumental piazza, and a salone grande, redolent of Venetian palazzi. One’s point of arrival affected one’s idea of where one was and what things were. From the main entrance, the viewer first encountered a street scene festooned with lights (Festoon, 2010). A car (Alfa Romeo GT1300 Junior, 1970), its interior an empty lounge, was parked in front of a loggia or monumental staircase (La scala, 2010). ADSL 2012 · [transformer] · 33
Caught in the car’s headlights, a great pile stood in an opposite corner, as though a building viewed from a distance (Lisson Ghost, 2010). The place was at first like a piazza, though the presence of objects of inconsistent scale lent it an increasingly ambiguous character as one moved through it and the installation. In one instance, Lisson Ghost reverted to being a simple rack of shelves, and the piazza briefly assumed the guise of a chapel, La scala became a baldacchino, inflected by a diminutive, archaic basin (Font, 2010) caught in a beam of light. Its tiny pool cast shimmering light high onto the walls, reminiscent of the play of light from the lagoon. Tall, empty painting stretchers stacked on top of each other in another corner sketched a succession of illusory interiors, a trompe l’oeil enfilade of unmade pictures (Trompe l’oeil, 2010). Standing next to them was what appeared to be a large, empty bookcase that looked like a building (Tietgens Ghost, 2010). One carried on: the space was now a room, a private interior. An image of the dense foliage of trees, their branches swaying slightly in the wind flickered on the wall, suggesting a window to another place (Trees, 2010). A pale object stood nearby, its volumes empty, apparently looking at this image, waiting (Red House Ghost, 2010). A desk sitting in a pool of its own 34 · ADSL 2012 · [transformer]
light (Architecture as Performing Art desk, 1986/2010) was an intimate refuge turned to the wall. Next to the desk, another opening reflected the viewer, and pictured him to himself, situating him within the places through which he has moved (Mirror, 2010). On leaving the installation, the viewer turned, and looked past the furniture to the waiting city, through La scala to all the players of the scene, before returning to where he began: to its lights, its movement, its fantasy.
Right Piazzasalone Venezia 2011 photographs Christian Richters
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CHANCE
[ L #02 ]
[
INTRODUCTION
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Anne Holtrop (1977, The Netherlands) studied architecture at the Academy of Architecture in Amsterdam from 1999 to 2005. After graduation, and still resident in Amsterdam, Holtrop set up his own practice, being twice awarded grants from the Netherlands Foundation for Visual Arts, Design and Architecture, known in the Netherlands as Fonds BKVB, as well as receiving the Charlotte Köhler Prize for Architecture from the Prince Bernhard Cultural Foundation in 2008. In 2009 he joined an artist in residence in Tokyo and in 2011 in Seoul. He is a lecturer and external critic at various art and architecture schools and is editor of OASE, an independent architectural journal for architecture. His work is exhibited in the Nouveau Musée Nationale de Monaco (MC), Gemeentemuseum The Hague (NL), Ludwig Forum Aachen (D), NAI Rotterdam (NL), Museum De Paviljoens (NL) and Tokyo Wonder Site (JP).
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[
LECTURE
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Throughout history many cultures have seen chance as having a sacred and magical power. Greek mythology, for example, tells us how Tuché, the goddess of chance, is superior in her say about people’s fates to that of all other gods. Working with chance interests me specifically in architecture opposed to either logic and ratio as you have in modernism or beauty and mimesis as you have in traditionalism. With using chance “the possible” becomes apparent in the sense of what is merely conceivable, the idea that all things can be perceived and conceived differently.
Top Museum Fort Vechten Utrecht (NL) Bottom left Temporary Museum Heemskerk (NL) Bottom right Reverse Process of Mountain Digging
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A CITY IS (NOT) A TREE
[ L #03 ]
[
INTRODUCTION
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Cino Zucchi was born in Milano in 1955; he graduated at M.I.T. in 1978 and at the Politecnico di Milano in 1979, where he is currently Chair Professor of Architectural and Urban Design. He has taught architecture at many international seminars and has been visiting professor at Syracuse University and at ETH in Zürich. Together with Cino Zucchi Architetti, he designed and realized many industrial, commercial, residential and public buildings, a number of projects for public spaces, master plans and renewals of industrial and historical areas. Major works of CZA include the urban design of the former Junghans factory site in Venice, the master plan for the Keski Pasila area in Helsinki, residential and office buildings for the former Alfa Romeo-Portello area in Milano, the new headquarters of Salewa in Bozen, Lavazza in Turin, and Group M in Assago, and the extension and renovation of the Turin National Car Museum which was recently awarded with the Inarch/ Ance 2011 prize. The projects of the studio have been published in books and magazines worldwide.
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[
LECTURE
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The geological and biological metaphors recurring in contemporary urban theory seem to hide the fear we are not able to produce environments with the “second nature” feeling of traditional cities, which today we can only reproduce as commercial caricatures. The landscape of the new world cannot be but a strange mixture of man-made and natural environments in a symbiotic relationship; we have to reconsider our design behaviours, “grafting” new spaces on the existing ones rather than dreaming of a brave new world. Our city is not a tree, and for this reason we can understand it. The beauty of the city is multiple, fallacious, occasional; but when it occurs, it overcomes the one of nature, it comforts us in its absence of perfection.
Top San DonÖ Cino Zucchi Architetti Bottom Salewa Headquarters Cino Zucchi Architetti
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CRAFTSMANSHIP TRANSFORMED
[ L #04 ]
[
INTRODUCTION
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Irene Curulli is assistant professor in architectural design at the University of Technology Eindhoven, The Netherlands. At the Tu/e she is also carrying out a research on the topic of transformation of industrial waterfronts along the canal zones of the Brabant region, The Netherlands. Irene Curulli taught at Cornell University, USA where she also researched into wastelands. As expertise on this topic she was jury member at Harvard University and at University of Pennsylvania; and lectured at University of Berkeley. In 2007 she organised the international Conference “Urban Wastelands” at the University of Technology Eindhoven. As a correspondent for the magazine ‘Space & Society’ Irene Curulli has written several articles on Dutch architecture. She acquired her post-graduate Master in Architecture at The Berlage Institute Amsterdam and then the Ph.D title from Naples University, Italy. Since 2002 she has run her Amsterdambased office.
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[
LECTURE
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Craftsmanship is the skill aiming at the design and creation of artefacts requiring a high degree of tacit knowledge as well as a highly technical and specialized equipment for their production. Craftsmanship is based on manual work, and therefore the results cannot be other than unique products. These characteristics can be found in the architectural expressions of old industrial buildings/boxes, where the crafting of their details show a poetics of materials and the technologies used, which go beyond the mere ‘ornament’ or the ‘aesthetics’. On the contrary, contemporary boxes (retail buildings, storage spaces, department stores, cinemas, etc.) made up of prefab components and fast-track construction produce the contemporary image of the ‘envelope’, made of the cladding and its frame. This reinforces the idea of surface disconnected from the interior of the building and apparently denies any form of craftsmanship. Contemporary boxes are mostly regarded as anonymous standardized products. As a matter of fact, there exists a synergy between ‘old’ crafting of factories and ‘new’ trends in crafting contemporary exteriors of buildings. Craftsmanship acts as bridge between design principles and construction techniques of such an apparent contradiction. Indeed, craftsmanship transforms and shows continuity in the 52 · ADSL 2012 · [transformer]
technological process. Through different techniques and the use of the knowledge of architectural tradition, it experiments with the possibilities of architecture to evoke and narrate. Therefore, it becomes the ‘transforming device’ generating new ornaments in architectural design.
Top Clay tablet Bottom Detail facade Espressofabriek, Westergasfabriek
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TRANSFORMING THE PAST INTO HERITAGE
[ L #05 ]
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INTRODUCTION
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Gregory Ashworth was educated at the Universities of Cambridge, Reading and London (PhD.1974). He has taught at Universities of Wales, Portsmouth and since 1979 Groningen. Since 1994,he is Professor of heritage management and urban tourism in the Department of Planning, Faculty of Spatial Sciences, University of Groningen (NL). His main research interests include tourism, heritage and place marketing, largely in an urban context. Author of around 15 books, 100 book chapters, 200 articles. Honorary life member, Hungarian Geographical Society 1995; Honorary doctorate University of Brighton 2010. Knighted for services to Dutch Science 2011.
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[  
LECTURE
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The past, by definition, is gone: it is not here to be re-lived or experienced and it cannot be inherited, preserved or bequeathed. It can however be imagined by the present. Heritage is a contemporary creation brought into being by the present to serve the political, social, economic and psychological needs of individuals and collectivities. As a product of the human imagination, it is ubiquitous, infinite and mutable as succeeding presents create and re-create the pasts they require at that time. This presentation, focusing upon the built environment, will examine how and why the present transforms the past into heritages and ascribes contemporary value to structures and sites. As heritage is necessarily selective, and choice implies non-choice, then the creation of collective heritage becomes a political decision but as heritage is also inevitably plural and contested then management becomes essential.
Top Phnom Bakheng Temple, Cambodia Bottom Normanton Church United Kingdom
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OBJECTS AND TERRITORIES
[ L #06 ]
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INTRODUCTION
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Andrea Branzi (Florence, 1938) is a designer, architect, theorist, lecturer, publisher and creator of exhibitions who is based in Milan. In his early years he played a leading part in the development of the radical Italian architecture scene that thoroughly reshaped design and architectural history as from the sixties. He was one of the founding members of the Archizoom group, which between 1964 and 1974 organised numerous experimental activities in the form of manifestoes, installations and happenings. From the seventies onwards he concentrated on the more theoretical issues of the new Italian design. He published many articles on this subject in such periodicals as Casabella, Modo, Domus, Interni, L’Unita and Terrazo, and continues to do so today. As a lecturer and co-founder of the Domus Academy, in the eighties and nineties he had a powerful influence on several generations of designers. He has an impressive number of innovative ideas and creations to his name, and has been a regular presence at such international events as the Milan design triennale, the Venice architectural biennales and Documenta in Kassel for more than forty years. Either as a coordinator or curator, or represented by his work.
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[
LECTURE
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‘Andrea Branzi. Objects and Territories’ is not a retrospective. It focuses on the necessity of authenticity in design and looks at the changing position of architecture and architects in the social order. Branzi’s theoretical thinking and his creations are still based on the demystification of modernist ideology. He considers that design and architecture always embrace material and immaterial aspects. His career illustrates not only his critical thinking, activism and intellectual engagement, but also his opposition to over-consumption and the empty system of stardom in architecture. The exhibition consists on the one hand of written material, models and a film that look explicitly at architecture: ‘No Stop City’ (1968), the ‘New Chartres of Athens’ (2010) etc. This is encircled by designs for various utility objects: ‘Trees’ (2011), ‘Animale Domestici’ (1985) etc., in which an innovative use of materials is combined with natural elements such as tree trunks and water. But it also includes non-applied work in which Branzi confronts death. The various installations all carry the same fundamental critique: objects and architecture are not pure utility objects born out of technology and consumer marketing, but should provide an answer to man’s real contemporary needs. This thematic exhibition shows the new 64 · ADSL 2012 · [transformer]
relationship between design and what Branzi calls the anthropological themes, such as history, nature, life, love, the sacred, death, etc. As a supplement to this exhibition, students from the Technical University of Delft (NL) will in a small-scale presentation be showing the position of such radical architectural groupings as Archizoom, Superstudio and the neorationalists against the background of postwar socio-political movements in Italy in the sixties, seventies and eighties.
Top PHO_Design Ph#ACE7AB Bottom left PHO_Design vo#ACE084 Bottom right PHO_Design vo#ACE085
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WORKSHOP
RUINS
[ W #01 ]
[
INTRODUCTION
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Alexander Bartscher is an architect based in Aachen. Together with his wife Elisabeth Bartscher he founded the studio PONNIE Architecture/Images, focussing on architectural visualisation in 2009... After having studied at RWTH Aachen and ETH Zurich, he worked for Herzog & de Meuron in Basel. He graduated with honours at RWTH and received a number of awards for his architectural works. Since 2009 he is an assistant professor at the Chair of Housing and Basics of Design at RWTH Aachen.
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[
WORKSHOP
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Considering time being the ultimate transformer of everything, it is this workshop´s aim to examine certain aspects of temporality in the appearance of the city of Antwerp. The many obvious traces that the process of transformation has left on the face of the city generate a specific atmosphere of a very strange quality. We want to reflect upon the many situations in the urban fabric that for unknown reasons appear derelict, worn down, neglected or destroyed. Observing these sites very carefully we will perhaps be able to find hints and signs which relate to the structure’s past and which allow us to dare a process of an imaginary reconstruction. Why have these buildings lost their right to remain in the society of houses that form the city? What happened here? Oscillating between the real and the fictional we will try to give an answer to these questions in the form of an architectural project. As in the year before the design work will in first place be driven by large scale architectonic images that are accompanied by precise technical drawings and a short text. Top Unfinished facade 01 Bottom Unfinished facade 02
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UCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FORGOTTEN MONASTERY Fromut Freya Winkelmann A stone’s throw away from the Scheldt River the complex of a forgo en monastery of Antwerp is located. The oldest convent in the Western World was founded in 400 AD. The convent is the guardian of the knowledge from the last 3,000 years of human history. Every year they create a Yearbook and one copy of the book they keep next to thousands of other books in their library, which you can find in the highest tower of Antwerp. The complex consists of a big cathedral, an inner courtyard, the sleeping cells, guest rooms, and the rooms for study and research. They are facing on one side the hidden garden. The library stands equal next to the church steeple. As a guest of the convent you will have access to this overwhelm library full of books about architecture, art, human history, political issues, fairytales, Photoshop guides and other interesting topics and ma ers of the heart. e hidden garden can be reached from the street via a small hidden door. If you pass by the Saint-Paulusstreet you should have a look. Maybe you will nd the door open. Behind it you will discover a place of silence and re ection, discussion, research and cultural exchange. PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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adSL 2012 rUINS
CHECKERBOARD HOUSE Hilke Baart There are still quite a few ruins in the heart of Antwerp. Some of them still tell you their story of their history, like the ruin in the Blindestraat. It was nothing but an open place with some remainders of side walls. Has it been one house or two? It couldn’t be figured out. I used these markings as the starting point for the reconstruction. Something that really caught my eye was the checkerboard pattern with different types of stones and colours. By the use of rectangular volumes, this pattern got dimension and depth, which resulted in a new building. As a reference to its past, I used bricks in the different colours as they could be seen at the ruin.
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ADSL 2012 RUINS
HIDDEN MONASTERY Ines Baart As well as there are new buildings in every city, there are also ruins. This also counts for the one in the Venusstraat number 46. Unfortunately, everything was demolished here, so you could no longer figure out what type of building it once was or which function it used to have. Only the height of the facade and roof were still visible on the side. At the front you could only see a dark wall without windows and on top of that there was nothing but open air. The houses at the left and at the right that were still there, were probably from the same building period. This information was all I had to go on. As a reference to the remaining wall, I decided to keep the lower part of my design rather closed. This is in contrast with the upper part where there are a lot of windows, through which the light can come in. This entering light gives a special sacred invasion, which suggests that this building used to be part of a hapel or a monastery.
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PALAZZO Jef Driesen Along the docks in Antwerp, a salesman decided to build his own venetian style storehouse. A decade of flourishing business later, he made his dream come true; a two-storey apartment on top of the old building was completed.
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La Torroja Juri Jansen La Torroja was situated in the north of Antwerp. It once was a famous theater because of its specifi c form. The long and narrow shape intrigued lots of theater directors to make the most bright pieces of performing arts. Its brutalist architecture, conceived in the sixties made a clear reference to the industial buildings in its surroundings.
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and heterogene landscape. The majority of buildings is out of use and derelict. The prosperity for the toll keepers. Of course a system for transport and safe storage of the harbour is a ruin. Between the infrastructure buildings one might oversee the little toll goods was needed. The toll houses are the visible part of an invisible architecture unhouses. They are small and their appearance is carefully representative, yet innocent... derneath: Each house is connected by stairs and ramps to one huge toll catacomb. The catacomb is the secret space of the toll keepers. A high vaulted volume is surrounded by small caves for storage. Daylight is provided by a thin seam between the vaults.
Schelde
50 m Kattendijkdok
Isometric overview of the harbour
Toll Houses and their Catacombs Leonard Wertgen Network of toll houses and storage catacombes
ADSL 2021, RUINS
The harbour is changing. The northern city is being transformed. Large harbour infrastructures such as docks, industrial buildings, markets and a few houses create a broad and heterogene landscape. The majority of buildings is out of use and derelict. The harbour is a ruin. Between the infrastructure buildings one might oversee the little toll houses. They are small and their appearance is carefully representative, yet innocent... The toll houses are small, but there is a lot of them. They are positioned at the gateways to the inner bassins. Here money and goods were collected, leading to wealth and prosperity for the toll keepers. Of course a system for transport and safe storage of the goods was needed. The toll houses are the visible part of an invisible architecture underneath: Each house is connected by stairs and ramps to one huge toll catacomb. The catacomb is the secret space of the toll keepers. A high vaulted volume is surrounded by small caves for storage. Daylight is provided by a thin seam between the vaults.
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can be found. In the project, ‘that what could have been’, these two opposite elements put together. The rather ‚boring‘ symmetry of the plan against he chaos of the chimneys and shafts. The building had the potential to act as a chimney – house and gave already a reference to the port of Antwerp.
DOEL // ANTWERPEN Michael Bracke
The small port — city of Doel — Antwerp is closely related to the theme of the workshopweek: TRANSFORMER. A part of the city Antwerp, but with its own ADSL 2012 RUINS identity that must give way to the extension for the port of Antwerp. In this respect we can speak of transformation. The town, which now looks more like a ghostvillage, is home for numerous ruins and abandoned houses. The mansion, built in the Camermanstraat 35 at Doel served as a doctor‘s house. It was one of the impressive medical houses from the period Antwerp ships went into quarantine at Doel. Finally demolished in March 2009. Deduced from the ruins, we can imagine that the plan and facade are relatively symmetric designed and in many rooms of the house multiple chimneys can be found. In the project, ‘that what could have been’, these two opposite elements put together. The rather ‚boring‘ symmetry of the plan against the chaos of the chimneys and shafts. The building had the potential to act as a chimney – house and gave already a reference to the port of Antwerp. ELEVATION // SCALE 1-50
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SECTION // SCALE 1-50
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uins’ in Antwerp.
PASTORIJSTRAAT 5, DOEL Mira Rooman By one facade the ruin gives the image that there could have been two houses, each one with a different scale. With an imagination and misinterpretation of the ruin is suggested that there were several houses on the large empty space. Several houses which have a different scale and which are scattered on the corner of the block. These houses retain only their structure and have random openings which create a maze feeling. This imagination of open ‘houses’ as public spaces are a reflection of the abandoned village Doel and fits within the scenario of ‘ruins’ in Antwerp.
ADSL 2012 RUINS
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CAMERMANSTRAAT, DOEL Dekeukelaere Nathalie
ADSL 2012 RUINS
The ruin is situated in Doel, Antwerp. A deserted city, fi lled with empty houses and old memories. The ruin told me that the house was made out of many small rooms. Rooms without direct daylight. This dark character of the house fi ts the current atmosphere of the village. I made the ruin into a real labyrinth where you go from bright and open spaces in the front to narrow and dark spaces in the back. This little journey refl ects the history of Doel. A lot of happy families were banned out of the village and had to leave all their good memories behind. Happiness became sadness.
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ADSL 2012 RUINS
DEPARTMENT FOR NAUTIC NEEDS Philipp Heuken The site in the Rijnkaai street close to the harbour is a perfekt example for Antwerp as a patchwork of styles and scales. This area is defined by a collage in a larger scale and the close-up as well. To the south the ruin is flanked by a classic housing typology. Whereas the other side of the street is defined by huge industrial builings. By having a close-up you get a hint of the materialization and expression of the former building. As well as it gives space for a reinterpretation. The „reconstructed“ building is the essence of observations and imaginations. A huge 19th century brick building has risen out of the remaining structure, serving, due to the proximity to the harbour, all sailormen. Their desires to contact their families after a long time on sea got satisfied in the Department For Nautic Needs. The 35m high-rise building obtains a vast amount of phone boxes, to make sure that every seamen can call his family. As well as it gives phone access to houses in the neighbourhood.
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ADSL 2012 RUINS
COVERED DRYDOCK Senne Van Tricht The semi-abandoned drydocks at the Antwerp harbour have a very specifi c shape. They are not just concrete boxes. The materials which are used are very detailed. With some imagination one could think about the docks as a covered construction. These docks may be used to give shelter to submarines in case of war.
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INDUSTRIAL HIGHRISE Lieven Vansant In the middle of the historic city of Antwerp there‘s a ruin behind an old medieval facade. The ruin is a silent witness of what was there before. The heavy industrial beams and the large width they span suggest this was not just a normal house. Some time ago there must have been a dark industrial construction. Visible, but unreachable in the middle of the building block.
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No title Jef Driesen 98 路 ADSL 2012 路 [transformer]
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memory of the old building and space. I only used the old marks to create something new. I pulled out the marks of the walls and floors so it became a play of the elements that used to be there.
ADSL 2012 RUINS
RUIN: A DRAWING OF MARKS Hester Houweling In Antwerp there are a lot of ruins. Places where used to be a building. But for years there are open spaces in the centre what make it mysteries. These ruins are the inspiration of this workshop. We had to find a ruin and read the marks on the walls that left. Especially the details are interesting and inspiring me to do something with it. I found a ruin in the north of Antwerp, close to the harbour. It is an open space on a corner. There should be a building on this place, which you can see because of the marks on the walls. Now they are building something new and destroying the marks. I didn’t designed a new building for this place, because I wanted to keep the memory of the old building and space. I only used the old marks to create something new. I pulled out the marks of the walls and floors so it became a play of the elements that used to be there.
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KLEINE KAUWENBERG, ANTWERP Wilkin Steven
ADSL 2012 RUINS
The street Kleine Kauwenberg was in the 19th century, after the third expansion of Antwerp, the border of a two-day market which took place in the Paardenmarkt. This street had excellent spatial qualities combined with the importance of transportation which was possible because of the nearby Itali毛lei. The ruin has a minimum of historical and architectural reference points which is as a matter of fact the main focus of this reconstruction. The remarkable aspect of this ruin is that only two roof shapes are still visible without further information about walls, fl oors, etc. The fi rst shape, and most likely the oldest, could refer to a low open structure for a storage space or a shelter. Perhaps this old, vulnerable but valuable structure, which is part of our patrimony, transformed itself trough time from an architectural element to a precious object.
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A roof, also known as the fi fth facade, has primarily the function of protecting other elements from weather infl uences. The second shape could have had the duty to cover up the fi rst one and fulfi ll this function. These two different structures have on one side a positive relationship but on the others their way of dealing with material and form creates a contrast which leads to a collapse between old against new.
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WILL THE OBJECT BE TRANSFORMED BY A TRANSFER OF CONTEXT?
[ W #02 ]
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INTRODUCTION
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Laurent P. Berger received the Villa Medici Grant through the French Academie in Rome. His work has been exhibited internationally, at the Watermill Center in New York, the Thyssen-Bornemisza Art Contemporary in Vienna, the Museo Alejandro Otero in Caracas, the Museo de Arte Carrillo Gil in Mexico, the Norrköpings Konstmuseum in Sweden, the Sorlandet Art Museum in Kristiansand, the MACBA in Barcelona, the Museu Berardo in Lisbonne. In 2006, he participated at the Whitney Biennale in New York, in 2009, at the AIM Marrakech International Biennale. The same year he has been in residency at the Tokyo Wonder Site and in 2010 at the Shizuoka Performing Arts Center. Cyrille Berger was awarded the NAJAP (young architects award) by the French Ministry of Culture in 2008. His work has been shown in 2008 at the 11th International Architecture Biennale in Venice, in 2009 at the 5th European Landscape Biennial in Barcelona and at the 2nd Biennale of the Canaries Islands.
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Laurent P. Berger, visual artist graduated from Ecole Nationale Supérieure des Arts Décoratifs (Paris) and Cyrille Berger, architect graduated from Ecole Nationale Supérieure d’Architecture de Paris La Vilette, have been collaborating since 2006 under the name Berger&Berger. Between 2008 and 2009 Berger&Berger were residents at CentQuatre in Paris. In 2009, they have been selected to participate in the closed competition for the building of a mobile museum by the Pompidou Centre (Paris) and in the program City Visions Europe, a design-research program focusing on the urban condition in Europe, initiated by the Berlage Institute in Rotterdam. In 2010, they have been selected for the 12th international architecture Venice Biennale to present a prefabricated movie theater at the Arsenal. In january 2012, they are delivering the extension of the Centre International d’art et du Paysage de l’Ile de Vassivière (Limousin).
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[
WORKSHOP
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When transferring the context, will the object be transformed? The workshop that we implement re-examine the status of the object through the shift of context. Work situated on the border of various artistic fields, visual arts, design, architecture, sculpture, graphic. A workshop located in the friction between various artistic fields: while operating from the territory of the arts or architecture, this project aims to examine the status of the designer, the architect, sculptor and graphic designer, sowing disorder between the concepts of object and art work while disturbing the contemporary practice of the exhibition. A house can become an artwork, a sculpture can become a building, a plant can become images, a painting can become a ceiling... When a space, a place or object is designed for a specific area, but moved to another area, will the nature of it be affected? Transformed in some way. Not in its form but in its status. The workshop will apply the development of a shift of ‘object’ phenomena in the field of architecture to the field of art and vice versa. A number of artefacts will be realized: models, objects, drawings, plans, installations, many performances or presentations that at the end will be exhibited in the studio like an exhibition with us as being the curators.This will 108 · ADSL 2012 · [transformer]
reveal the ambiguity that arises from the breakdown of traditional boundaries of art towards a form of artwork that invests everyday objects: their functionality, the relation with decoration, questioning the place and status of art. These issues, which are specific to the extension of the boundaries of the artistic field of design and architecture, are the proper questions for visual art contained in our work: attention to form, the distribution of elements in space, etc… Thus the role of context and the viewer is essential in this post-Duchamp debate on the distinction between art objects and simple objects in the world. Questioning the notion of exhibition. The works produced during the week will create interior environments for indeterminate use. The audience will be guided into a place shaped by the works: between utility, living and decoration, playing on the ambiguity of erasure as art works in favour of creating a place, an ambiance. Blurring the boundaries of a work of art, questioning us about the nature of its objects, sculptures, architecture or design objects, testing the limits of the exhibition spaces.
Top Feuillets d’Hypnos Berger & Berger Middle Vanishing Point Laurent P. Berger Bottom left The Prophecy Berger & Berger Bottom right ça va Berger & Berger
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HABITUS
[ W #03 ]
[
INTRODUCTION
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Lorenzo Bini (1971) was born and educated as an architect in Italy where he graduated in 1998. In 2000 he moved to The Netherlands to work for West8 Urban Design and Landscape Architecture. In 2003 he returned to Italy and co-founded studiometrico, an architecture practice that he has been directing until 2011, when the office has ceased business. In 2011 Lorenzo started a new practice called BINOCLE. Beside his professional activity, he has been lecturing in few European schools and he’s currently teaching architecture at the Politecnico di Milano.
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Is it really true that “The cowl doesn’t make the monk”? From medieval language cucullus non facit monachum, or in french l’habit ne fait pas le moine, means that appearance is no reliable guide to a person’s true character. Jennifer Speake, the Oxford Dictionary of proverbs
Were Corbu’s spectacles merely functional or were they also a professional statement? Why do you need to ‘look good’ in order to ‘feel good’ and eventually ‘play good’? Are we as disposed to change appearance as much as we are eager to manipulate space? Does the word Transformer suggest a possible strategy for architects and designers to survive and proliferate in the near (troubled) future? Having in mind these and many other questions, I would like to explore the potentials of architectural skills applied on tailoring craftmanship. During the workshop each participant will design and ‘build’ a wearable dress, suit, uniform or costume (this will depend on individual desires and attitudes...) that will be eventually worn to enanche a professional transformation. Few operative rules and guidelines will be communicated at the beginning of the workshop. 126 · ADSL 2012 · [transformer]
Top left Illustration for Bini 01 on-line Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers Top right Illustration for Bini 02 on-line Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers Bottom Illustration for Bini 03 on-line Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers
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NO SEXISM IN ARCHITECTURE! Charlotte Vandeplassche
THERE’S ONLY ONE ARCHITECTURE! Nele Verbeke
MORE TRUST IN ARCHITECTS! Bieke Moelans
MORE PUBLIC ARCHITECTURE! Ben Van Dessel
MORE CREDITS FOR ARCHITECTS RESPONSIBILITIES! Caroline Livens
ARCHITECTURE IS LEADERSHIP! Chloé Dillen
HIGHER FEES FOR ARCHITECTS! Pauline Stuyck
ARCHITECTS ARE PRAGMATIC, NOT JUST CREATIVE! Julie De Raedt
ARCHITECTS WANT THEIR LIVES BACK! Saba Cuyckens
ARCHITECTURE DOESN’T HAVE TO BE UNIQUE! Gülay Güldemir
LESS RULES IN ARCHITECTURE! Klaartje Kempenaers
EMPORIO BINI collective design
FROM BED TO STREET
[ W #04 ]
[
INTRODUCTION
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Daniel Cid is scientific director of ELISAVA Higher Design School, Barcelona. PhD from Universitat de Barcelona, where his research focused on the phenomenon of domestic matters and personal experience. He has been involved as a curator on different museums projects. He has given classes and lectures at different European and Latin American universities. As vice-chairman of FAD - the Barcelona-based association of designers - he has developed projects such as Xarxes d’Opinió and the City to City Barcelona FAD Award.
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Josep Bohigas, architect based Barcelona. In 1990 he created the architecture studio BOPBAA together with Iñaki Baquero and Francesc Pla. Their work includes urban design, architecture, ephemeral design, as well as curators of different cultural projects. From 1993 he teaches at university centres such as the ELISAVA Higher Design School (Pompeu Fabra), the Universitat Internacional de Catalunya or Escola Técnica Superior d’Arquitectura de Barcelona (UPC). He is the mind of the project APTM, presented at Construmat 2005, an initiative that proposed building low-cost housing under sustainability criteria, with quality materials and in a minimal space (just above 30 square meters).
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The starting point of our exercise is a space that already exists in the School, the door. A door, which is also a house. We invite you, students, to become the inhabitants of this place, to TRANSFORM it into your home so that later you can turn the experience into a project. Following the order that goes from bed to street (intimacy, privacy, collective, public) we want you to sleep there in the privacy of a bed (intimacy). We want you simply to be there just like any inhabitant in the living-room at home. The house, like art, is the place where nothing is done and where there are always things to be done (privacy). We want you, through those common spaces of the house, to share a meal, a class, etc. (collective). We want this whole experience to become a project exhibited and shared by the students who walk through the door and come out onto the street, and by any passers-by who happen to be around. An ephemeral transformation of intimacy made public.
Top A Night At The Opera The Marx Brothers 1935 Bottom The Navigator With Buster Keaton 1924
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From Bed To Street www.youtube.com/watch?v=KJkzw2gcN_o&feature=youtu.be Concept, construction and habitation.
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‘NONUMENTS’
[ W #05 ]
[
INTRODUCTION
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Graeme Brooker is a designer, academic and writer based in the UK where he teaches studios in Interior Architecture at the University of Brighton. He has written extensively on the design of the interior and the reworking of existing spaces and buildings and is the co-author of a number of books including ‘Rereadings’ (RIBA 2004) and ‘What is Interior Design?’ (Rotovision 2010). He is the co-founder and now Director of I.E. (Interior Educators). He is currently working on a number of new books including a reader on Interior theory, (2012) editing a selection of essays for the ‘Handbook of Interior Design’ (2012) and a book on the history of the interior (2013).
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In the nineteenth century, the philologist Alois Riegl was concerned with the exploration of how art forms mirrored there period and time. He explored insignificant details such as the ornamental patterns and motifs in carpets in order to make sense of change and developments in the languages of things and in turn society. In these investigations Riegl posited the idea that historic monuments had a constantly evolving and transformative urban role, especially as their appreciation shifted throughout their lifetime. In his 1903 essay ‘On The Modern Cult of Monuments’ Riegl formulated three types of these monuments; Intentional, unintentional and age value. Riegl defined the monument as an artifact that retains in itself, intentionally or unintentionally, an element of the past and the future. In the 25th year since Matta-Clark made Office Baroque in Antwerp this workshop will explore the transformative dimensions of the NONUMENT, a democratic nonmonument that embodies and communicates the ideas and concerns of the students participating in this workshop. NONUMENTS is a workshop that will democratize and communicate an (in) appropriate homage to the ideas and issues of the students and the city. The site for the NONUMENT is the empty plinth in the courtyard at the entrance to the school. 152 · ADSL 2012 · [transformer]
Top left Buildings of Disaster Boym Studio Top right Battenberg Brian Griffiths Proposal Fourth Plinth Bottom Empty plinth at Campus Mutsaard
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WE EXI(S)T Kenn Van Overveld Jan Jacobs Thomas Fonken Thomas Dewaele This project wanted to find an answer to the question: “Who or what is an architect?” and “Which aspects make an identity?”. They tried to find an answer by using transformation and interaction in theit sculpture. By turning the panels like the pages of a book and putting your head in the chosen hole, the user creates his archidentity.
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Climbing up the stairs to exist and coming down to exit, we are the spirit of the school.
ADSL 2012
NONUMENTS
GRAEME BROOKER
nONUMENTS www.youtube.com/watch?v=gc0P2I1Hrsc Construction and use
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mODULOR Joke Verbeke Lore Maes Long Than Phan This project wanted to find an answer to the question: “Who or what is an architect?” and “Which aspects make an identity?”. They tried to find an answer by using transformation and interaction in their sculpture. They wanted to replace the missing statue by a three dimensional, personalized scrapbook that could be altered by its user. By turning the panels like the pages of a book and putting your head in the chosen hole, the user creates his archidentity. The identity of the user combined with some stereotypical aspects of an architect make a new interpretation of Le Corbusiers modulor.
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n identity?". They tried to find an answer by using transormation and interaction in theit sculpture. By turning he panels like the pages of a book and putting your head n the chosen hole, the user creates his archidentity. The
4
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REFLECTION Alison Johnson Asha The visitors focus in on interesting monuments around the site. The viewer is able to walk onto the top of the plinth and is able to become part of the nonument. On entering the site, the installation becomes the nonument distorting the view through the courtyard. The “nonument” is a device that focuses the viewer’s attention to the context. It allows the viewer to become a monument, and take a new, abstracted perspective of the space. Moving through the space creates changing images on the reflective surfaces of the installation
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The last forest Johan Michiels Anneleen De Witte Edward Van Loocke 2012, a courtyard of a school for architecture and a monumental plinth without statue become the scene for an unusual intervention. The plinth is serving as base for a planter which decorates a platform, on which students can hang out for a while enjoying the sunny weather. This temporary platform, constructed with cheap materials that can be reused afterwards, reduces the height of the plinth. On top of that, a white screen withdraws the plinth from the sight, stripping it completely from its monumentality. Nobody could ever imagine that these freshly planted apple-trees would become a very important work in progress in “pre-membrance” of a lost future.
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2112, planet earth faces massive ecological destruction; due to the greenhouse effect the sea level has risen and all forests have disappeared... The only remaining trees are found in Antwerp, were a group of apple-trees are desperately clinging to their plinth. People from all over the planet come to visit this world renowned monument in the centre of the Antwerp tree museum.
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PUBLIC SPACE ACUPUNCTURE
[ W #06 ]
[
INTRODUCTION
]
Helena Casanov & Jesùs Hernandez, both born in 1967, Madrid and graduated in 1997 at the Faculty of Architecture ETSAM in Madrid. Helena Casanova worked for West 8 and Neutelings-Riedijk, Jesùs Hernandez for West 8 and Claus & Kaan before starting the Casanova + Hernandez Architecten office in 2001 in Rotterdam. Guest professors at the Academy of Architecture Arnhem and Amsterdam (2002-04), TU Delft (2002-05), the Academy of Architecture Rotterdam (2002-10), guest critics in Chalmers School of Architecture, Götemborg (2011) and visiting lecturers at the Berlage Institute Rotterdam (2011-). Helena Casanova is member of the commission ‘Research and design’ of the Stimuleringsfonds for Architecture, Rotterdam. Since 2009 Jesùs Hernandez is member of the Spanish Landscape Architects Association.Casanova-Hernandez architecten won many awards such as the ‘2013 World Landscape Art Exposition’ in Jinzhou (2011), the Sixth European Biennial of Landscape (2010), the Landscape Intervention for Lausanne Jardins 2009and the MUF Public Space Madrid.
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[
WORKSHOP
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In the nineteenth century, the philologist Alois Riegl was concerned with the exploration of how art forms mirrored there period and time. He explored insignificant details such as the ornamental patterns and motifs in carpets in order to make sense of change and developments in the languages of things and in turn society. In these investigations Riegl posited the idea that historic monuments had a constantly evolving and transformative urban role, especially as their appreciation shifted throughout their lifetime. In his 1903 essay ‘On The Modern Cult of Monuments’ Riegl formulated three types of these monuments; Intentional, unintentional and age value. Riegl defined the monument as an artifact that retains in itself, intentionally or unintentionally, an element of the past and the future. In the 25th year since Matta-Clark made Office Baroque in Antwerp this workshop will explore the transformative dimensions of the NONUMENT, a democratic nonmonument that embodies and communicates the ideas and concerns of the students participating in this workshop. NONUMENTS is a workshop that will democratize and communicate an (in) appropriate homage to the ideas and issues of the students and the city. The site for the NONUMENT is the empty plinth in the courtyard at the entrance to the school. 166 · ADSL 2012 · [transformer]
Top left Aerial photo of Rome Top right Map of Rome Giambattista Nolli 1748 Bottom Leap into the void Yves Klein 1960
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Sitting Link Tom De Putter Niels Theunis Nicolas Mossoux Yakira Pouillon One of our main objectives is to stimulate the different actors from the school (staff, students, teachers ) to have more social interaction. We try to achieve this by creating interventions on the places where we can see the most circulation and gathering of our target groups. By first visually creating a link between the front entrance and the entrance at the parking lot we make the people aware of the possible second entrance at the parking lot, which is mostly being used by the people coming from Roosevelt or Central station. We intervene by creating dynamic sitting landscapes that exist out of multiple, individual and mobile components. By making these “hotspots” for human circulation more attractive and pleasant to linger, we hope to create more opportunities for social interaction.
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Square Meter Antoinette Mas Laura Meulemans Paolo Migliori Dries Ramaekers A Couple of years ago the character of the conicksplein changed complitely: they builded a library to attract an other group of people and to upgrade the neighbourhoud, they installed cameras next to the tramway to control the square and by doing this they tried to stop criminality and drugs problems. We noticed that people don’t use this public space anymore to stay, because if you hang out on the square in a group for a while the police coes and think you are dealing drugs. Also a lot of bars closed after this iterventions. The square became a circulation space. We want to create a space to escape from the cameras and bring the public character back to the square. We want to do this by creating a skin which embrace a part of the square, in this skin we put a bench. Our goal is to make the people aware that the square is not used as a square anymore. We hope people will enter the box, hang out together and realise it is strane that they need this skin to just seat on the square without feeling controled. 170 · ADSL 2012 · [transformer]
Square Meter observation www.youtube.com/watch?v=EbnEuZAgApg&feature=youtu.be Instalation and observation
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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PRODUCED BY AN AUTODESK STUDENT PRODUCT
Our target group are smokers. Because of a new regulations about smoking in restaurants, bars, public building, people need to stand outside for smoking their cigarette, what has an impact on the public area. We want to design an area in the public space where smokers can claim there space without disturbing non smokers. Our intervention need a link with smoking, maybe we can achieve this by scaling objects or link the form with smoke habits.
PRODUCED BY AN AUTODESK STUDENT PRODUCT
Public Space Acupuncture Fien Batens Elisabeth Stellfeld Matthias Zaman
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
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Know the unknown Stéphane Kaczmarek Charlotte Tersago Kaurie Vleugels Our interventions are focused on students who are new in the city (Erasmus, first year students from outside Antwerp) and don’t know the area. By giving clear directions to main interest points for all students in the environment, they meet each other and upgrade their social life. The goal is to have the students learn about the area and each other, without imposing a certain social interaction. The interventions are a tool, can be used to get to places where there always is a social gathering. By placing oversized objects at locations concerning education (school, library), food and drinks (restaurant) and sports (gym) they become very recognizable. The objects are related to the activity that takes place in those buildings, like eating (restaurant) and reading (library). Not only do the objects have a visual function, some of them can also be used as a shelter or bike stand, others can be used as a bench.
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Village People Erika Baluw茅 Corinna Del Bianco St茅phane Kaczmarek Charlotte Tersago Wim Van De Meirssche Kaurie Vleugels What we want We want people of the area (behaving like a village) to behave like a village community. We want to change individual habits creating possibilities of interaction. We want to create a community life make people aware of being part of a village system. What to transform People awareness of the system in which they live in. People everyday path. How to transform / Strategy We make people stop and meet along their usual paths. We make pauses in the routine paths. We use foot paths extra space in Paardenmarkt. We provide a tool usable both in summer and winter seasons.
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“ Chat ”
“ Move ”
“ Play ”
“ Lie ”
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H IS FOR HOUSE.
[ W #07 ]
[
INTRODUCTION
]
Christian Fröhlich studied architecture at the TU Graz. Works in between architecture, art and media. Teaching experience since 1998. He taught Visual Design, Architecture and Film and Design Studio at the „Grazer Schule“. From 2001 to 2010, Assistent Professor at the Institute of Architecture and Media. Founder of the the media lab no_Lab. From 2007 to 2010, co-director of the postgradual master degree program „Architectural Computing and Media Technology“ at the TU Graz. Won the Austrian Building Price (Category: Institutes and Faculties) and the Schütte-Lihotzky-Project Award from the Federal Chancellery of Austria, Section of Artistic Affairs. Participated in several academic workshops, scientific conferences and art festivals worldwide. Works on his doctoral thesis about architectural experiments; currently Senior Scientist at the Institute for Art and Architecture at the Academy of Fine Arts in Vienna and runs - together with Johanna Digruber - the architectural studio HARDDÉCOR.
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Building a View Finder in order to produce a series of Video Paintings by following a set of rules and thus transform an interior space whose Transformation can be seen only by observing the space through the View Finder which finally has become a screen - a Transformer. Video for me is a way of configuring light, just as painting is a way of configuring paint. What you see is simply light patterned in various ways. For an artist, video is the best light organ that anyone has ever invented. (Brian Eno) H is for house. A is for apple. B is for butterflies. H is for [hats?], my [hat?] H is for homemovie and Hollywood. G is for
T is for table. H is for hybrid. L is for the ladder. H is for habits. H is for house. S is for sun.
grannysmiths. C is for cox’s orange pippins. H is for harvest.
H is for half-past six, half-past seven, half-past eight, half-past nine, half-past ten, half-past eleven, half-past
B is for blackberries. I like those ones. C is for cows. B is for bike. H is for horse. M is for music.
twelve...
H is for hocus-pocus, helter-skelter, harum-scarum,
(extracts from a script by Peter Greenaway)
hoity-toity, hokey-cokey, hotchpotch, hubble-bubble, [?-?], [hurdy-gurdy?], [?-?].
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H is for horizon
H is for house. D is for [it’s very dark outside. Go to bed!]
Top Illustration HARDDÉCOR Photo ICA Media Room Diller Scofidio+Renfro Script (ectracts) Peter Greenaway Bottom slow h model Peter Alfred Hess
An Eye for Optical Theory Christian Fröhlich
Building a View Finder in order to produce a series of Video Paintings by following a set of rules and thus transform an interior space whose Transformation can be seen only by observing the space through the View Finder which finally has become a screen - a Transformer. Video for me is a way of configuring light, just as painting is a way of configuring paint. What you see is simply light patterned in various ways. For an artist, video is the best light organ that anyone has ever invented. (Brian Eno) H is for house. A is for apple. B is for butterflies. H is for [hats?], my [hat?] H is for homemovie and Hollywood. G is for grannysmiths. C is for cox's orange pippins. H is for harvest.
B is for blackberries. I like those ones. C is for cows. B is for bike. H is for horse. M is for music. H is for hocus-pocus, helter-skelter, harum-scarum, hoity-toity, hokey-cokey, hotchpotch, hubble-bubble, [?-?], [hurdy-gurdy], [?-?].
T is for table. H is for hybrid. L is for the ladder. H is for habits. H is for house. S is for sun. H is for half-past six, half-past seven, half-past eight, half-past nine, half-past ten, half-past eleven, half-past twelve... H is for horizon Illustration: HARDDÉCOR Photo: ICA Media Room, Diller Scofidio+Renfro Script (ectracts): Peter Greenaway
H is for house. D is for [it's very dark outside. Go to bed!]
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Should an artist draw what he sees or what he knows? Videopaintings
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#1_videopainting www.youtube.com/watch?v=rgWfscyF09E&feature=youtu.be Simon Claessens Nicolas Debuyst Julie Jonckheer
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#2_videopainting www.youtube.com/watch?v=zwxCwnPmf7M&feature=youtu.be Jeroen Geys Vincent Van Baelen Stijn Rybels
#3_videopainting www.youtube.com/watch?v=R4yQlncyxXo&feature=youtu.be Ellen Van Den Brande Nikola Znaor Christopher Ghouse
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#4_videopainting www.youtube.com/watch?v=BlN9wKEt-OU&feature=youtu.be Franziska K盲uferle Eline Raaymakers Liesbeth Donckers
#5_videopainting www.youtube.com/watch?v=6L-AWLB0rS0&feature=youtu.be Ruud Aerts Ferdinand Fritz Thomas Niederberger
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HELGOLAND
[ W #08 ]
[
INTRODUCTION
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Filip Geerts (1978) graduated cum laude from the Delft University of Technology in 2001. As Assistant Professor of Architecture at the TU Delft since 2004, he is an educator and researcher responsible for the program ‘Territory in Transit’. His main interest is the intersection of architecture, city, landscape and infrastructure: dealing with ‘the large dimension’ through the lens of architecture. He is currently completing his Phd research ‘Architecture/Territory: Architecture’s construction of a problem of the whole’. As an architect, he has worked on projects and competition entries. He is about to publish ‘DAM, Architectural Considerations on the Modification of Territory’ (Standpunkte, Basel), with llmar Hurkxkens and Philipp Herrmann.
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Wannes Peeters (1986) graduated magna cum laude from the Artesis University College Antwerp (2009), studying abroad in Stockholm at KTH Royal Institute of Technology and is alumnus from the Berlage Institute, Rotterdam (2011). While studying he was selected to participate in the 2010 Meesterproef, a biennial competition for young architects organized by the Flemish Government State Architect and was research assistant for the book publication The Berlage Survey of the Culture, Education, and Practice of Architecture and Urbanism (ed. Salomon Frausto). He worked at the Architecture Workroom Brussels as a curatorial assistant for the 5th International Architecture Biennale Rotterdam. Currently he works at HUB architecten in Antwerp.
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Holy Land in the North Sea. Two islands, Hauptinsel and Düne (the first rocky, the latter sandy), connected until the 1720 storm surge, rise from the shallow seabed of the German Bight, reaching 61m above MSL. The isolated land formation is a geological, geopolitical, economical and historical exception. The ancient red cliffs of Hauptinsel are a singular sight anywhere near the continental coast of the North Sea. The more recent white chalk underneath Düne has more in common with the cliffs of Dover and the Baltic than with the flat coastal lands of the Wadden Sea. Its geological hardness resisted the eroding rise of the sea after the last Ice age that submerged all surrounding lowland. Colonized first by Friesians around 700AD, fending of the Romans, conquered by Vikings, terrorizing Hanseatic trade routes, ceded by Denmark to the United Kingdom at the end of the Napoleonic wars, exchanged for Zanzibar by the German Empire, turned into a navy base, forcefully deserted by its inhabitants on the eve of WW1, bombed by the RAF in WW2, nearly obliterated by the British ‘Big Bang’ of 1947 “at the fourth pip of the BBC time signal” — the largest non-nuclear man-made explosion until 1969, resettled again enjoying tourism revenue and a tax-exempt status while part of the EU, the island now seams a perfect laboratory to 192 · ADSL 2012 · [transformer]
reconsider landscape, architecture and island utopia. Although hopes for reuniting the two islands by land-reclamation were recently thwarted by the outcome of a 2011 referendum, the project will be to design a new landscape between Hauptinsel and Düne and propose a settlement principle based on the utopian alphabet, while learning from Moore, Ledoux, Deleuze, Smithson and Hejduk.
Top Helgoland 1649 Bottom ‘Big Bang’ 1947
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GEOGRAPHY On geographical level, there are many structural possibilities. The 2011 referendum suggested a extension of the main island to the dune by sand replenishment, which can take many forms. Dredging an independent island for instance doesn’t affect the identity of the islands in comparison to an extension. This contains an enormous effect on the sea-bottom and its wildlife. The main advantage of the proposal of a floating island is the undisturbed wildlife. It would function as a servant with its own identity and take various positions towards the other islands. A third possibility is the creation of a polder which provides a new flexible existence. Land and water combined form a new diversity of nature. Like dredged land, the position of a polder is permanent. The new proposal for extra land contains polder enclosed by an embankment. This new entity is centered between the two islands and disconnected of them. The site manifests itself as a third identity which benefits Helgoland’s existing and desired diversity. The shape of its boundary is adept to the depth of the sea. The site enclosed by this wall is positioned under the sea level, which creates an extra height 194 · ADSL 2012 · [transformer]
on the island’s section. The slope of the boundary is adapted to his radius. The space between the existing and the new border is complemented by concrete tetrahedra such as artificial rocks. At high tide the gap is flooded and at ebb a bridge between the islands is formed. This new form creates ecological possibilities. This concept of a narrow gap, making the floatation between the island faster, can be used to produce sustainable energy. Because of the specific water flow the gap will clog in time and merge the three islands in a natural way. Positioning hollow cylinders integrated with propellers will not only provide energy for the islands, which also can provide an income, but even provide an autonomous existence.
Top left Current state Top right Homemade Levees Mississippi River Bottom First design phase Muschel
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CONNECTION The transportation on Helgoland is as exceptional as its character, bicycles are forbidden and cars are repressed. Because of the topography the importance of the vertical transportation is equal to the horizontal. In order to remain outliving on Helgoland and the existence of its economy, it’s of interest to map and survey the significance of the connections with the mainland and between the islands. This is a research of a more global transportation. On local scale, the significance of locations and the possibilities of transportation between them is important for interconnection amongst the residents but also for visitors. Therefore intensity of locality and transportation is studied. The transport system accentuates the hierarchy amongst the islands. The green residential area dominates with its rocky appearance of Oberland, Mittelland and Unterland, followed by is the lower sandy Düne ,which will be the HUB of the archipelago, and the moist polder below sea level, forming the new utopian centre. The HUB will contain a terminal welcoming plains and hovercrafts from the mainland and the stretching arms which interconnect the islands. 196 · ADSL 2012 · [transformer]
These stretching arms formed out of a truss system, connecting the existing elevator of the main island, the center island and the terminal on Düne. By this three point connection the islands remain almost untouched, respecting their character. The actual transportation happens within the truss beams by a boardwalk and mobile cabins. The latter persuaded by kinetic energy encouraged by the counterbalance of two moving elements, which is also a sustainable energy system, respecting the island’s lifestyle.
Top The terminal Bottom Second design phase Hegoland connectivity
Central square -10 000 MSL
4000 + PSL
Air-Sea Terminal +10 000 PSL
4000 + PSL
Existing elevator 54000 + PSL
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SETTLEMENT The settlement focus on paradigms for the island. It’s a study about the whole, the void, the in-between, the centre and the periphery while researching existing models. The transport system touches down on the symmetrical axis of the new central island and forms the centre and public space of the new utopian village. Its surrounded with a building density decreased towards the extremity of the island. The settlement volumes are placed on a organic grid, binding with nature, contradicting the new geography and transportation. On the wide end of the polder a wetland is formed in a natural way composed by the seabed level.
Top Example of settlements Bottom Third design phase Settlements
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und the are.
nsified nds.
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Inverted Helgoland BayGrid A gridPiers is applied on the two The existing get extended. On islands. top of Not regarding the existing structures the new platforms people can inhabitate their plots.
Living & Working People live on the „main island“ and work on the „dune“. Learning from Helgoland The connection gets really important. As the tourism growth, more people The found structures of settlement are copied to need to live on the island and inhabitate the connection as well. other spots on the island. On the „dune“ people live in temporary structures.
Natural Borders Settlement is continued along the existing geographical borders of the two islands. The cliff on the „main island“ and the dunes on the other one.
Radial Fragments A new grid according to the radial village fragments is implemented on the islands.
Grid A new strict gridstructure is build around the two islands. they remain as they are.
Main Streets Settlement along the intensified main streets of the islands.
Fully inhabitated the islands are fully filled with paths and buildings.
Inverted Grid A grid is applied on the two islands. Not regarding the existing structures
Living & Working People live on the „main island“ and work on the „dune“. The connection gets really important. As the tourism growth, more pe need to live on the island and inhabitate the connection as well.
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INVENTORY The inventory maps all existing elements. It’s a documentation of specific activities and programs related to the curious character of the island. It’s a study about the relevance of these elements to the new referendum. Campfire place An object or a site can become more valuable by linking it to a ritual. Therefore associated to the old funeral ritual of the Vikings. To honor the dead, the Vikings made the form of a boat in the grass with rocks comparable to Menhirs. They were buried in a Knarr, which is a boat, pushed Knarrs could be pushed from the land into the sea. One side of this renewed monument is a dock, the other side is a row of stones. This row will spread out with an integration of barbecues and eventually make a circular seating area around the lifts the experience of the place up to a higher level. Rescue brigade The design of the rescue brigade is based on a reman’s pole. The pole works as a central spill to which all the dierent functions (sleeping room, gym/ relaxation room, view point and workspace) are connected. In the case of a rescue, via the 200 · ADSL 2012 · [transformer]
spill, the crew collects underneath the tower. Starting from here, they can rescue by boat or helicopter. The height of the tower is an advantage for receiving rescue signals. Bird view post The island is an important breeding place for seabirds from the North Sea region. During the autumn it is a stopover for birds on their way to the South. Also in the middle piece of the island there’s a variety of birds. Because of these reasons the island attracts many birdwatcher and –lovers. By the absence of a ‘bird view point’, several were created. They were integrated in nature in a modest way, by hidden them in the clis. They provide an excellent view on the birds without disturbing them. Top The inventory of existing elements Bottom Location of the inventory Foldout top left Campfire place Foldout bottom left Rescue post Foldout right Bird view post
BIRD VIEW POST The island is an important breeding place for seabirds from the North Sea region. During the autumn it is a stopover for birds on their way to the South. Also in the middle piece of the island there’s a variety of birds. Because of these reasons the island
INVENTORY Lange Anna Lange Anna is the symbol of Helgoland. This towering stack reaches up to 40 meters. It’s remarkable red colored, due to the sedimentary rock. To protect this natural monument, in 1903, a wall was built to protect it against stormy weather. Unfortunately, erosion will continue and eventually make Lange Anna collapse.
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Bunker ruin The bunkers are destroyed by the bombing. The remains became historical elements and a viewpoint on the island.
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Gas station Though cars are avoided on the island, there’s a gas station situated.
Bird veiw points We created several ‘bird view points’, integrated in a modest way in nature: hidden in the cliffs. In those ‘bird view points’ the birdwatchers have an excellent view on the flying birds without hunting them away.
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Rescue brigade There’s a rescue brigade on Hegoland, near by the port. According to our opinion this place can be(come) more valuable than it is now. That’s why we choose to elaborate this place.
Campfire Such a place has a lot of charisma. When we compare it with activities organized in Antwerp, the place could be more valuable then it is now. The place has a lot of potential to become a (eco-)touristic event.
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Bungalowpark The bungalowpark is the only living area on Dune. It’s located near the airport but separated from all the other touristic attractions. Traffic light The strange location of the traffic light is on the beach, making people wait when a plain has to land or take off.
Soccerfield The field looks like it doesn’t belong there. When you look closer you can see that the orientation and the slope are adapted to nature.
Dunerestaurant Dunerestaurant has a curious appearance. It looks more like a technical building then a restaurant.
Allotments The allotments are located on the edge of the cliff, which some appear to fell off.
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Craters The craters are the storytellers of the island, adding historical value to it and faded by time.
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Airport The airport is located next to two bungalow parks. The footprint is quite large compared to the island but rather small for an airport.
Mini-Helgoland Though it’s a mini-version of the reality, it still has a accessible scale, which is rather odd in comparison to the size of the island.
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Lighthouse The lighthouse is located in the middle of the beach. Therefore it isn’t visible from every direction.
Church, tower and graveyard The church tower appears to be a more separate object than a component of the Church. Due to its shape, the tower seems like it’s incomplete and misplaced.
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Tunnel The reason for the existence of the tunnel was to make a connection between the Oberland 7 and the Unterland. In this way, goods could be 1 transported by railway wagons between Oberland and Unterland. Hummerbunde The Hummerbunde are remarkable colored houses, with a Scandinavian look. They differentiate from the regular residential area on the island.
Pinneberg The Pinneberg is with its 61 meters the highest point of the island, although it doesn’t life up to the expectation of a highest point.
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Radio mast The radio mast contrasts the landscape and its nature, by forcing into it.
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Grün ist das land Al these former ingredients can be used to envision a plan for socio-economic development of the future Helgoland. It’s a vision which provides new life to the identity of the island where global and local conditions merge. A proposal for Helgoland’s future framework. “Ecotourism is a sustainable form of natural resource-based tourism that focuses primarily on experience and learning about nature, and which is ethically managed to be low-impact, non-consumptive, and locally oriented (control, benefits, and scale). It typically occurs in natural areas, and should contribute to the conservation or preservation of such areas.” Helgoland produces its own energy solely with the use of durable energy sources. Due to this, the island becomes completely independent from the German mainland and becomes an autonomous island ones more. Even the opportunity arises to sell leftover energy to Germany. The island strives to lower its overconsumption and wasteproduction. This is accomplished by local produce of organic food and the sale to visitors. This approach leads to the support of local financial wealth and increases interaction between civilian and consumer. 202 · ADSL 2012 · [transformer]
Helgoland makes the effort to maintain and strengthen the natural, social and cultural diversity. Visitors are informed of the local habits, fauna and flora. Tourist can participated to scientific research to contribute and to learn about local culture, nature and population. Helgoland’s ecotourism needs to maintain small scaled to preserve the existing diversity. The visitoramount can’t exceed the capacity of the ecosystem so it gets the chance to restore.
The 2011 referendum about the connection of Helgoland-Hauptinsel and Düne proposed more land-surface creating room for more living area and a revival of the tourism. The proposal didn’t conform to Helgoland’s lifestyle. Therefore the archipelago of entities with each its own specific conditions would be transformed into a single island where the variation would blend into one homogeneous reality. More land would reduce the real estate value of the existing available land. Land-reclamation by means of spraying sand dredged from the bottom, is both destructive to the ecosystem of the sea-bottom where the sand is dredged from and buries any original trace of the sea-bottom at the location where the sand is dredged to under meters of poor soil. The addition of an extra island (a polder) on the contrary, would reinforce the archipelago. Each island with its own unique characteristics maintains its autonomous identity on several levels. By keeping separate their respective properties, the natural, social and cultural diversity of Helgoland remains unaffected. The additional polder-island contributes to the diversity with yet another condition. The proposal creates more land, to offer the possibility for development, while also preserving the characteristics of an
archipelago, consisting of the two existing entities Hauptinsel and Düne, joined by a third entitity – a polder. The increased land-surface in the polder offers the desired cheap land, without disturbing the real estate on existing Hauptinsel. The old seabed is revealed in the polder, offering an opportunity for archeological research and no remaining sea-bottom is disturbed by dredging. So, a new proposal for a third independent island embraces the existing archipelago: a Helgoland of three entities and new spaces in-between. Therefore the question for a new 2012 referendum for Helgoland: ‘Are you in favor of a third entity, a polder, to participate in the archipelago of Helgoland?’ “Sind Sie dafür, einen dritten Teil (einen Polder) zu dem Helgoländer Archipel hinzuzufügen?”
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TRANS_FOR_MORE
[ W #09 ]
[
INTRODUCTION
]
Spyridon G. Kaprinis was born in Thessaloniki, Greece. He completed his graduate studies at the University of Westminster, London, and at the Architectural Association, London. From 2002 until 2005 he was a teaching assistant at the Aristotle University of Thessaloniki, Greece .He completed his postgraduate studies with a Master in Architectural Design with Distinction from The Bartlett, U.C.L., London [ 2005-2006] and a Master in Architecture and Urbanism with Distinction from the Architectural Association’s Design Research Laboratory (AADRL) [ 2010].
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Maria G. Tsironi was born in Athens. She completed her studies at the Aristotle University of Thessaloniki [AUTh] and at TU Wien, and received her Diploma in Architecture in 2008 [AUTh | 1st Honors]. She has also been awarded the Michelis Foundation Scholarship [2008]. She received her Master in Architecture and Urbanism with Distinction from the Architectural Association’s Design Research Laboratory (AADRL) [2010], and has recently had a book published, entitled “Spiritual Immersion and Metamorphosis: Subtraction through Degradation”. They are both currently working at Zaha Hadid Architects, London, U.K.
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[
WORKSHOP
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The notion of the sketch appears to be extremely congruent with the idea of the transformer. The painstaking process of analogue and digital sketching produces a variety of intuitive and transformable lines and images, which form and demarcate a wealth of architectural thinking «typologies». Through the development of a process of narratives, architects and designers take part in a transformative itinerary that plays a key role to the discovery of novel techniques and concepts: this influences and enriches their aesthetic interpretation, formal manipulation and refinement skills, and, thus, helps them achieve a better understanding of their own, self-reflective architectural interpretations of their surrounding environment. The objective of this workshop is the following: through a process of notation, motion, participation and scale shifting the students will engage in an exercise of visual memory, tracing and palimpsest layering, which will eventually result in an artefact, space or atmosphere that will evoke the transformational process which has generated it.
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Follow_the_path_of_exPIERience Adelaide Versluys Nikita Joly A Place with an Impact By taking a distance of the city (that is yours) you can get a better look at this city. Taking a step backwards gives you the possibility to have a better look at yourself. Antwerpen - Linkeroever Manmade - Nature Mirrors can make manmade objects become part of nature A Story of Reflection We followed a specific path on the bank of Linkeroever. Meanwhile we took pictures while holding a mirror in the scene, creating new images and object by holding the mirror in the right place or in the right angle. This path was cut in 4 separate pieces, because of their different in experience. Afterwords, the paths were places together again, in a different kind of structure. This new structure was based on the shadow created by the crane-monuments at the new emplacement of the pier, at the city-side.
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The End… The main concept of the pier is the experience of it, in stead of the actual pier itself. Each pier has its own type of experience, because of the form of the path, the emplacement of the mirror, the reflection in the mirror, the shape and size of the mirror. But also the material of the path-floor, who can have impact on the walk-pace enabling to have another look of the scene. Thus it may happen that horizontal elements blend into vertical elevation, creating the frame, mirror and path into one.
Transform into a pier Amber De Beule Karlijn Jansens Liselotte Schoenaers Marlies Van Wuyckhuyse A pier can be used as a resting point, or as a tool to go from 1point to another. It’s a place where people arrive and depart. It can be a start point or an end point. The building the MAS, is the inspiration for our idea. We zoomed in and saw a prominent detail of the building, the hands.By investigating the hand, we tried to find an idea for a pier. With your hands you can do sign language, these are all kind of movements. By spelling the word “transform” in sign language you get different motions. We translated these movements to abstract lines. We overlayed the lines to create a movement diagram. By positioning the diagram on the map of the site we formed our personal designed pier in relationship to an important walking route around the dock.
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From memory to imagination Mohammed Ahsen Jamil Scott Desert Elene de Kort Scott Peeters Movement in the city Our concept is about the city and her main movements. We first started with analysing common and obvious movements to more abstract or invisible ones, such as the riverflow (water), traffic (cars + pedestrians), cranes, old tramlines and the wind. Working with three different scales of the city - macro, meso & micro - we layered the different movements, shifting between the scales and selectively overlapping them to develop our forms as an abstraction of the movement within the city. The final scale presents the site which has four prominent elements: the londonbridge, the two westkaai-towers, the flandria-station and the mas in the background. Combining the layers Through a process of shifting scales and abstract layering, our form is mapped onto the site. The result is a shape which combines the two main movements in Antwerp: the Schelde and the Singel (river and traffic road). 216 路 ADSL 2012 路 [transformer]
We repositioned and puzzled the created shape in the dock, marking the overlapping points. Structure We took inspiration from looking closely at the structure and movement of the cranes near the docks. The similarity of the lines within the urban layers of the roads and cranes is quite striking. A de-constructive process of breaking up the crane structure (responsive to gravitational forces) and repositioning with in a style similar to its intended movement has informed and developed a three dimensional approach with a notion of movement.
Decorosion Enea Facoetti Tom Van Reybroeck Decorosion investigates the relation between decoration and the form or patterns which are created by rust. Both of them are affecting the metal according to precise rules. The floral decoration represents nature, but in an artificial way, while the corosion is the direct consequence of nature itself. The work that the rust is doing on the surface may be as beautiful as manmade decoration. One might look at it as ‘rust mushrooms,’ others might suggest these are beautiful, new forms to represent nature, thus becoming ‘rust flowers.’ The beauty of the ‘rust flowers’ comes from the sublime. The rules guiding the rust are there, but they are hard to interpet. When nature takes over you are losing control over the metal. The only solution you have is to replace or repair the panel. Fascinated by the beauty and irregularity of the shapes created by the rust we did an empirical research by a photographic survey. In our research we looked for grids we encountered on our way to the shelters on the waterfront. In a way the grids are the opposite of the ‘rust flowers.’ The grid represents the ratio, the rust represents nature and is guided by the sublime. The ADSL 2012 · [transformer] · 217
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objects of the survey are regular patterns where the rust is connecting the points creating a matrix or dealing with the pattern by contrast. When rust comes into play it starts to attack the weakest points on the surface. In this way the rust is creating a logical path onto the surface of the grid. Later in time it starts to connect or reduce the holes in the grid and thus creating a matrix. Secondly we focused on the panels of the shelter taking pictures with a digital camera, reducing the light and concentrating only on the forms of the rust flowers. By doing this we were able to map the most damaged panels in the roof of the shelter. In the next step we concentrated by parametric progam all the ‘rust flowers’ into one ‘stripe’. The project extends the original shelter with a new one covering the path between the southern shelter and the river. The goal i to reuse the dqmaged panels of the north shelter ,which may be replaced, to realise the new extention as public space design. The surface
Trance_for_more Barrington Lambert Thibault Trouvé Direct flow, break it or even generate it. Those are several aspects bound to the function of a pier or a breakwater. There is a very linear pattern to be found in the actual function of a pier or breakwater. While one connects A to B in a straight line, the other gives a direct answer to the one-way pressure of the ocean which sole desire is to expand his area. Is there a way to use those dynamics in settings that transcend their usual purposes. Can we add value or rethink those linear patterns or at least change the context and scale so it becomes an interactive tool used in and out the city, for and by everyone. We tried to design a mechanical element that allows to define space as well as a direction or a view. It is not restricted to a binary on-off mode but should gradually deploy, so even more ways of use are discovered along the way.
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TO WEAVE OR NOT TO WEAVE?
[ W #10 ]
[
INTRODUCTION
]
John Lonsdale is a thinker and sculptor of landscapes using buildings as the means to give shape to my art. The practice was founded in 2004 by Northumbrian born architect John Lonsdale and is based in both Amsterdam and Northumberland. Apart from the design of buildings the range of commissions has grown over the last few years from the scale of a table to a spatial planning strategy for Almere Oost. When needed he collaborates with specialists brought in from outside. These include building engineers, building construction advisers, cost experts, land surveyors, industrial designers, historical geographers, archaeologists, writers, biologists and photographers. In 1991 he lived for a year on a nature reserve before graduating from the Architectural Association in London in 1995. He is currently teaching at the Rietveld Academy and the Academy of Architecture in Amsterdam as well as being invited to lecture and run workshops in the Netherlands and further afield. In 2001 he was awarded the Prix de Rome for Landscape Architecture and Urbanism for his work called ‘Shifting Horizons’, a study into ‘listening to the land’ and how not to resist the forces of nature but to live with them. His work is supported by the Netherlands Architecture Foundation, the 224 · ADSL 2012 · [transformer]
Department of Landscape Architecture of the Technical University of Delft, the Dutch Water Authority and Vereniging Natuurmonumenten. In the Netherlands the practice follows the DNR 2005 (The New Rules 2005) which establishes the legal relationship between client, architect, engineer and consultant.
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[
WORKSHOP
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Pathways are lines along which movement proceeds. Whether drawn on paper or marked on the ground the lines can also be perceived as limits within which movement is bounded or contained. Tim Ingold argues in his book ‘The Perception of the Environment’ that the perception of a building is less a gathering together of boundaries within which space is occupied, but more as a vessel describing lines of movement connecting moments of ‘lives led through, around, to and from places’. The workshop intends to investigate the registration of involuntary or non self-conscious movements along lines to and from places. Ingold argues that it is as wayfarers that human beings inhabit the Earth, not as place-bound inhabitants but as placebinding inhabitants. The environment unfolds he says, not in places but along paths; ‘Proceeding along a path every inhabitant leaves a trace. Where inhabitants meet, traces are entwined, as the life of each becomes bound up with the other. Every entwining is a knot, and the more that lifelines are entwined, the greater the density of the knot.’ Early registrations of movement captured on photographic plates by Marey and Muybridge will be drawn upon for inspiration. As well as hand-drawn tracings, more contemporary techniques 226 · ADSL 2012 · [transformer]
for registering movement will include iPhone app’s such as Ik Val Op. The registrations will be brought together to make new ‘knotted’ lines. These will then form the basis for an architectural design that explores movement as potential woven structure. The environment, and architecture too, becomes less occupied place and more ‘knotted’ moments and weavings of lines of movement and pathways along which life is lived. In so doing we may choose not to be place-bound, but place-binding wayfarers weaving our paths. Etienne Jules Marey, both a physician and physiologist, explored the art of capturing cycles of movement through time in a single frame. Above is an image of a runner clothed in black with white ping pong balls attached to the joints. He first began his studies using wet collodion plates in 1876, later moving on to photographic dry plates in the 1880s upon their introduction. Diagram used to show how to basket weave.
Top Basket-weaving Bottom Course de l’homme Étienne-Jules Marey
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Most of the time we think and design in terms of bounded spaces; rooms, corridors, streets, squares, parks and so forth. While British social anthropologist Tim Ingold states that environment doesn’t unfold in places but along paths or bounded lines. Proceeding along a path, every inhabitant leaves a trace. Our architectural plans are in this vision plans of our paths. We should not see them as places and walls, but as paths we can follow. It is possible to influence others with the path you create.
Our goal was not to make or prove any statements, but to turn statements into questioning through improvization. Or as Tim Ingold explains it: “To learn is to improvise a movement along a way of life.” We turned it into doing things and learning from it. Each time we found new beginnings that grew along the way.
In the workshop we began experimenting with dierent ways to visualise our paths. All these projects evolved into one big action. This way we began to weave as a group. We formed dierent paths that came together in knots. By forming our path we interacted with other people and our surrounding. People weaved their own path trough ours. This way we realised that whether we want it or not, intentional or unintentional, we always weave. Top Reforming the ‘path’ Right ‘Along the way’ following students with a thermographic camera
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Top Taiwan Strait Smart Region (TSSR), main map (by CHORA) Bottom Taiwan Strait Smart Region (TSSR), main map (by CHORA)
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DOCUMENTING THE INVISIBLE
[ W #11 ]
[
INTRODUCTION
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Ramiro Losada Amor is a Building Engineer and Architect. Following his scholarship studies at the University Lombart Lambert (Belgium), he moved on to work experience in the field of Design, Architecture, and Urbanism in London (Alejandro Zaera, FOA) and Rotterdam (Mecanoo Architecten). Currently he is researching his PhD at ETS Arquitectura Madrid, titled “Documentary Film Architecture: Construction of the Contemporary Non-fiction for XXI Century Architecture”. His architecture office is currently based in Madrid, and has 3 areas of focus: Experimental architecture (with awards such as Saloni 2010 Interior Architecture with the project IniciarteARCO). University teaching (across various universities of Architecture and Design such as Escuela de ArquitecturaUEM and SelftDesign-Universidad Politécnica) Audio-visual documentation about Architecture including several interviews with architects of national and international prestige. He is a co-founding partner of Studio Banana TV.
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[
WORKSHOP
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Several times, film transforms architecture, or at least the way the audience views it. Le Corbusier through the promenade architecturale started in the image sequence, which derived in the film concept with contemporary projects. A common observation in the recent history of Architecture. But the architecture also transforms the cinema. And it’s even more interesting! Dogville (2003, Lars von Trier) shows through the abstract representation of space, as the film approaches can transform invisible boundaries in architectural applications. The cinema has become a transformer of the vision of the immediate areas, architecture or city. In 2012 the workshop ADSL will transform the invisible elements in our surroundings in visible devices through cinema.
Right Scenography from the film Dogville
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Ground floor & First floor www.youtube.com/watch?v=4BfUP150z1Q&feature=youtu.be Sara Drowaert Sigrid Leysen Timo Moorthamer Lauren Van Driessche
Do You Really Know Your City www.youtube.com/watch?v=xsolDcvB6qA&feature=youtu.be Britt Boschmans Jasmine Creemers Julie Moens
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Scheldekantje www.youtube.com/watch?v=WFDNVcZ_iGU&feature=youtu.be Thomas Joos Michelle Kox Milan Milaux
Velo www.youtube.com/watch?v=AztUx_mSZmc&feature=youtu.be Thomas De Ridder Jenne Gits Yves Van Dessel Steven Van Soom
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THE CITY: THE BUILDING: THE ROOM
[ W #12 ]
[
INTRODUCTION
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Sally Stone MA is the Director of the College of Continuity in Architecture at the Manchester School of Architecture. She teaches studio courses at post-graduate level concerned with the sustainable adaptation of the existing environment, this includes urban regeneration, new constructions, building re-use, heritage, interior design, and installation art. She has been invited to lecture internationally, to contribute to international workshops and she is the author of a number of books and other publications about building adaptation and interior design.
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WORKSHOP
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“One could look from the campiello through openings, balustrades, screens, and discern the garden at the other side … and behold something at once a mystery and reality.” Carlo Scarpa talking about the Fondazione Querini Stampalia
Architecture is the mediator between the City and the Room. An act of translation occurs at the point where the outside meets the inside. The window, door or threshold transforms the nature of the exterior and moderates it to accommodate the interior. When viewed from the hostile environment of the outside, the interior can possess qualities that are perhaps ethereal, enchanting or reassuring. Imagine a crowd gathering in the Grote Markt, the quality of the light in the square, the coldness of the damp and windswept space, look through those twinkling windows of the tall imposing buildings, envisage what would be happening in these spaces, picture the character of the rooms behind the facades, create this interior. Top left Luigi Olivetti Top right Windows Hammershøi Tall Bottom Grote Markt Antwerp
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Gildehuis 1 Suikerrui Sophie Lauvrys & Eef Van Meer
Top Gildehuis 1 Suikerrui Sophie Lauvrys Eef Van Meer Right Gildehuis 2 Groenplaats Evy Bouwen Michiel Dur茅
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Gildehuis 3 Kaasrui Maxime Bruynseels & Kathy Baeyens
Top Gildehuis 3 Kaasrui Maxime Bruynseels Kathy Baeyens Right Gildehuis 4 Hoogstraat Anneleen Smedts Yana Van Ingelgem
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Gildehuis Hoogstra Anneleen Smedts & Yana Van Ingelge
Gildehuis 5 Hofstraat Astrid Tiepermann Kaatje Van de Paer
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Gildehuis 6 Braderijstraat Tine Faasen Heleen Janssens
Gildehuis 6 Braderijstraat Tine Faasen & Heleen Janssens
ENOUGH IS ENOUGH!
[ W #13 ]
[
INTRODUCTION
]
Mathieu Wellner (1972, Paris) received his diploma in Architecture in Brussels. In 2002 he moved to Munich, where he started to work on several projects, exhibitions and publications. He was involved at the Faculty of Architecture of the Technische Universität München between 2007 and 2010. From 2006 to 2010, he has been coordinating the architectural projects for the Haus der Kunst in Munich, responsible for a common study by AMO and Herzog & de Meuron and for Ai Weiwei’s architectural projects in the exhibition “so sorry”. In 2010 he joined the chair of architectural theory at Innsbruck University as a researcher. He is co-director of the Wiederhall Foundation in Amsterdam and co-founder of the Q+A-panels in Munich. Currently he is curating, lecturing and publishing.
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[
WORKSHOP
]
More than 150 years ago Henry David Thoreau, the author of the famous essay, On the Duty of Civil Disobedience, claimed that individuals should protest against government that overrules their conscience. The conscience, the intelligence, and the heart should be the main reason for decision making for matters of both the public and private realms. Today, one would think that this is the rule rather than the exception. In fact, it’s not. There hasn’t been a major protest movement since May 1968, but instead a long period of wealth and pragmatism that formed an almost apolitical society of uncritical hedonists. This apparently changed when Stephane Hessel published his philippic, Time for Outrage! (Indignez-vous!), in September 2010, when a few months later the Arab Spring revolutionized politically many countries in the Middle East and when the Occupy Wall Street movement started to challenge the politics and policies of the western world. Society has been jarred from its apathetic slumber, bringing everything into question. Today, even architecture has to reality. It seems that architectural designs are increasingly trimmed by regulations; the work of an architect becomes mainly to avoid the worst. At the same time, 254 · ADSL 2012 · [transformer]
architects are liable and responsible for everything. The terrible truth nowadays is: Form follows the law. It’s time to say: STOP - enough is enough! In this workshop we will put up resistance and overcome opposition. Students will question their own educational system, make contra-projects, and meet with architects to learn about problems in pratice. We live in historic times. As both architects and citizens, we will protest.
Top enough is ebough ! Mathieu Wellner Bottom collage-Mathieu
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[
LIST OF NAMES
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]
Lectures
Workshops
IMAGINATION, TRANSFORMATION AND PLACE Mark PIMLOTT
RUINS Alexander BARTSCHER Fromut Freya Winkelmann Hester Houweling Hilke Baart Ines Baart Jef Driesen Juri Jansen Leonard Wertgen Lieven Vansant Michael Bracke Mira Rooman Nathalie Dekeukelaere Philipp Heuken Senne Van Tricht Steve Wilkin
CHANCE Anne HOLTROP A CITY IS (NOT) A TREE Cino ZUCCHI CRAFTSMANSHIP TRANSFORMED Irene CURULLI TRANSFORMING THE PAST INTO HERITAGE Gregory ASHWORTH OBJECTS AND TERRITORIES Andrea BRANZI
WILL THE OBJECT BE TRANSFORMED BY A TRANSFER OF CONTEXT? Cyrille BERGER Laurent BERGER Jorge Garcia Aguado Alexandra Gruber Gert Guldentops Sybil Kennes Elisa Pascotto Sophie Peronnet Jorien Schaepherders Stijn Segers Marcella Twiest Olivia Van Damme Nathalie van der Sterren Dennis Van Reeth Gilles Vanneste Koen Willemsens HABITUS Lorenzo BINI Saba Cuyckens Julie De Raedt Chloé Dillen Gülay Güldemir Klaartje Kempenaers Caroline Livens Bieke Moelans Pauline Stuyck Ben Van Dessel Charlotte Vandeplassche Nele Verbeke
FROM BED TO STREET Josep BOHIGAS Daniel CID Julie Boliau Wim Boons Vincent Caluwé Eline Debruyne Caroline Fransen Fabio Iturrospe Justine Piedfort Talia Prims Lynn Samuel ‘NONUMENTS’ Graeme BROOKER Anneleen De Witte Thomas Dewaele Thomas Fonken Jan Jacobs Alison Johnson Lore Maes Johan Michiels Long Than Phan Edward Van Loocke Kenn Van Overveld Joke Verbeke Asha PUBLIC SPACE ACUPUNCTURE Helena CASANOVA Jesùs HERNANDEZ Erika Baluwé Fien Batens Tom De Putter Corinna Del Bianco Stéphane Kaczmarek Antoinette Mas Laura Meulemans Paolo Migliori Nicolas Mossoux Yakira Pouillon Dries Ramaekers Elisabeth Stellfeld Charlotte Tersago Niels Theunis Wim Van De Meirssche Kaurie Vleugels Matthias Zaman
H IS FOR HOUSE Christian FRÖHLICH Ruud Aerts Simon Claessens Nicolas Debuyst Liesbeth Donckers Ferdinand Fritz Jeroen Geys Christopher Ghouse Julie Jonckheer Franziska Käuferle Thomas Niederberger Eline Raaymakers Stijn Rybels Vincent Van Baelen Ellen Van Den Brande Nikola Znaor HELGOLAND Filip GEERTS Wannes PEETERS Gulay Aydogan Sophie Beenens Frank Botman Didier De Roeck Maarten De Werk Sigert Defrancq Sarah Eilers Dieter Eysermans Sebastian Haufe Laurens Lafaille Machteld Phlips Aenne Seib Geraldine Somers Stef Verhees TRANS_FOR_MORE Spyridon KAPRINIS Maria TSIRONI Mohammed Ahsen Jamil Amber De Beule Elene De Kort Scott Desert Enea Facoetti Karlijn Jansens Spyridon Kaprinis Barrington Lambert Scott Peeters Liselotte Schoenaers Thibault Trouvé Maria Tsironi Tom Van Reybroeck Marlies Van Wuyckhuyse
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Organisation TO WEAVE OF NOT TO WEAVE? John LONSDALE Asha Biant Rik De Coster Jef De Feyter Raf Geysen Femke Gommers Josep Malonda Vizcarro Hendrik-Jan Roest Frank Stabel Amber Van de Weyer Dina Van der Donck Leslie Van Laer Kim Van Pelt Yasmin Verbist Jochen Willaeys
ENOUGH IS ENOUGH ! Mathieu WELLNER Joris Bootsma Joris Buys Laura Derboven Yari Dockx Niklas Fanelsa Sofie Geens Sophie Michoel Anastasia Missotten Nick Mols Filip Pacqu茅e Domenico Remes Laura Sainderichin Sophie Thielemans Kristijn Van Riel Freya Winkelmann
DOCUMENTING THE INVISIBLE Ramiro LOSADA Britt Boschmans Jasmine Creemers Thomas De Ridder Sara Drowaert Jenne Gits Thomas Joos Michelle Kox Sigrid Leysen Milan Milaux Julie Moens Timo Moorthamer Yves Van Dessel Lauren Van Driessche Steven Van Soom THE CITY: THE BUILDING: THE ROOM Sally STONE Kathy Baeyens Evy Bouwen Maxime Bruynseels Michiel Dur茅 Tine Faasen Heleen Janssens Sophie Lauvrys Anneleen Smedts Astrid Tiepermann Kaatje Van De Paer Yana Van Ingelgem Eef Van Meer
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Koen Van De Vreken prof. arch. Dean College of Design Sciences, Artesis, Antwerp Ben Daems External Relations Officer Christian Kieckens prof. arch. Curator ADSL 2012, Inge SOMERS Maria LEUS Graphic Design Ben Vervoort Maarten Lambrechts Representatives of the Student Council 20112012
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[
INDEX
264 · ADSL 2012 · [transformer]
]
Guest Professor Gregory Ashworth
Josep Bohigas
Daniel Cid
Anne Holtrop
Gregory Ashworth was
Architect based Barcelona. In
Scientific director of ELISAVA
Anne Holtrop (b. 1977,
educated at the Universities
1990 he created the architecture
Higher Design School,
The Netherlands) studied
of Cambridge, Reading and
studio BOPBAA together with
Barcelona.PhD from Universitat
architecture at the Academy of
London (PhD.1974). He
Iñaki Baquero and Francesc
de Barcelona, where his
Architecture in Amsterdam from
has taught at Universities of
Pla. Their work includes urban
research focused on the
1999 to 2005. After graduation,
Wales, Portsmouth and since
design, architecture, ephemeral
phenomenon of domestic
and still resident in Amsterdam,
1979 Groningen. Since 1994,
design, as well as curators of
matters and personal
Holtrop set up his own practice,
he is Professor of heritage
different cultural projects...
experience...
being twice awarded grants
management and urban tourism in the Department of Planning...
from the BKVB Fonds... » more on 142
» more on 142 » more on 38
» more on 56
Andrea Branzi
Irene Curulli
Andrea Branzi (Florence, 1938)
Irene Curulli is assistant
Spyridon Kaprinis
Alexander Bartscher
is a designer, architect, theorist,
professor in architectural design
Spyridon G. Kaprinis was
Alexander Bartscher is an
lecturer, publisher and creator
at the University of Technology
born in Thessaloniki, Greece.
architect based in Aachen.
of exhibitions who is based
Eindhoven, The Netherlands.
He completed his graduate
Together with his wife Elisabeth
in Milan. In his early years he
At the Tu/e she is also carrying
studies at the University of
Bartscher he founded the studio
played a leading part in the
out a research on the topic
Westminster, London, and at
PONNIE Architecture/Images,
development of the radical
of transformation of industrial
the Architectural Association,
focussing on architectural
Italian architecture scene that
waterfronts along the canal
London. From 2002 until 2005
visualisation in 2009...
thoroughly reshaped design
zones of the Brabant region,
he was a teaching assistant at
and architectural history...
The Netherlands...
the Aristotle University...
» more on 70 » more on 62
» more on 50
» more on 208
Cyrille Berger & Laurent Berger
Graeme Brooker
Christian Fröhlich
John Lonsdale
Laurent Berger, visual artist
Graeme Brooker is a designer,
Christian Fröhlich studied
The practice was founded in
graduated from Ecole Nationale
academic and writer based
architecture at the TU Graz.
2004 by Northumbrian born
Supérieure des Arts Décoratifs
in the UK where he teaches
Works in between architecture,
architect John Lonsdale and is
(Paris) and Cyrille Berger,
studios in Interior Architecture
art and media. Teaching
based in both Amsterdam and
architect graduated from
at the University of Brighton. He
experience since 1998.
Northumberland. Apart from the
Ecole Nationale Supérieure
has written extensively on the
He taught Visual Design,
design of buildings the range of
d’Architecture de Paris La
design of the interior and the
Architecture and Film and
commissions has grown over
Vilette, have been collaborating
reworking of existing spaces
Design Studio at the „Grazer
the last few years from the scale
since 2006...
and buildings and is the co-
Schule“...
of a table to a spatial planning
author of a number of books... » more on 106
strategy for Almere Oost... » more on 180
» more on 150
Lorenzo Bini
» more on 224
Filip Geerts Filip Geerts (1978) graduated
Ramiro Losada
and educated as an architect
Helena Casanova & Jesùs Hernandez
cum laude from the Delft
Ramiro Losada Amor is a
in Italy where he graduated in
Both born in1967, Madrid
University of Technology in
Building Engineer and Architect.
1998. In 2000 he moved to The
and graduated in 1997 at
2001. As Assistant Professor
Following his scholarship
Netherlands to work for West8
the Faculty of Architecture
of Architecture at the TU Delft
studies at the University
Urban Design and Landscape
ETSAM in Madrid. Helena
since 2004, he is an educator
Lombart Lambert (Belgium), he
Architecture. In 2003 he
Casanova worked for West 8
and researcher responsible
moved on to work experience in
returned to Italy and co-founded
and Neutelings-Riedijk, Jesùs
for the program ‘Territory in
the field of Design, Architecture,
studiometrico,...
Hernandez for West 8...
Transit’...
and Urbanism in London...
Lorenzo Bini (1971) was born
» more on 124
» more on 164
» more on 190
» more on 232
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Lectures Wannes Peeters
Mathieu Wellner
Chance
Objects and territories
Wannes Peeters (1986)
Mathieu Wellner (1972, Paris)
Throughout history many
The exhibition consists on the
graduated magna cum laude
received his diploma in
cultures have seen chance as
one hand of written material,
from the Artesis University
Architecture in Brussels. In
having a sacred and magical
models and a film that look
College, Antwerp (2009) and
2002 he moved to Munich,
power. Greek mythology, for
explicitly at architecture: ‘No
is alumnus from the Berlage
where he started to work on
example, tells us how Tuché, the
Stop City’ (1968), the ‘New
Institute, Rotterdam (2011).
several projects, exhibitions and
goddess of chance, is superior
Chartres of Athens’ (2010) etc.
While studying he was selected
publications. He was involved at
in her say about people’s fates
This is encircled by designs for
to participate in the 2010
the Faculty of Architecture...
to that of all other gods...
various utility objects: ‘Trees’
Meesterproef...
(2011), ‘Animale Domestici’ » more on 252
» more on 40
(1985) etc...
» more on 190 » more on 64
Cino Zucchi
A city is (not) a tree
Mark Pimlott
Cino Zucchi was born in Milano
The geological and biological
Mark Pimlott (Montréal, 1958)
in 1955; he graduated at M.I.T.
metaphors recurring in
is an artist and architectural
in 1978 and at the Politecnico
contemporary urban theory
Transforming the past into heritage
designer. Trained both as
di Milano in 1979, where he
seem to hide the fear we are not
The past, by definition, is gone:
an architect and a visual
is currently Chair Professor of
able to produce environments
it is not here to be re-lived or
artist, he works within and
Architectural and Urban Design.
with the “second nature” feeling
experienced and it cannot
across the disciplines of art
He has taught architecture at
of traditional cities, which today
be inherited, preserved or
and architecture, and uses
many international seminars
we can only reproduce as
bequeathed. It can however
his interpretations of both to
and has been visiting professor
commercial caricatures...
be imagined by the present.
influence the making of each...
at Syracuse University and at ETH in Zürich...
Heritage is a contemporary » more on 46
» more on 14
creation brought into being by the present to serve the
» more on 44
political, social, economic...
Sally Stone
Craftsmanship transformed
Sally Stone MA is the Director
Craftsmanship is the skill aiming
of the College of Continuity in
at the design and creation
Architecture at the Manchester
of artefacts requiring a high
School of Architecture. She
degree of tacit knowledge as
teaches studio courses at post-
well as a highly technical and
graduate level concerned with
specialized equipment for their
the sustainable adaptation of
production. Craftsmanship is
the existing environment...
based on manual work...
» more on 244
Maria Tsironi
» more on 52
Athens. She completed her
Imagination, transformation and place
studies at the Aristotle University
The word transformer suggests
of Thessaloniki [AUTh] and
a locus, device or event through
at TU Wien, and received her
which an entity or force is
Diploma in Architecture in 2008
changed into something other,
[AUTh | 1st Honors]. She has
in an instant. A place is made
also been awarded the Michelis
by ascribing significance to a
Foundation Scholarship
part of the world...
Maria G. Tsironi was born in
[2008]... » more on 16 » more on 208
266 · ADSL 2012 · [transformer]
» more on 58
Workshops The City: the Building: the Room
From bed to street
‘NONUMENTS’
The starting point of our
In the nineteenth century, the
To Weave or not to Weave?
“One could look from the
exercise is a space that already
philologist Alois Riegl was
Pathways are lines along which
campiello through openings,
exists in the School, the door. A
concerned with the exploration
movement proceeds. Whether
balustrades, screens, and
door, which is also a house. We
of how art forms mirrored there
drawn on paper or marked on
discern the garden at the other
invite you, students, to become
period and time. He explored
the ground the lines can also
side … and behold something
the inhabitants of this place, to
insignificant details such as the
be perceived as limits within
at once a mystery and reality.”
TRANSFORM it into your home
ornamental patterns...
which movement is bounded or
Architecture is the mediator
so that later you can turn the
between the City and the Room.
experience into a project...
An act of translation occurs
contained... » more on 152
» more on 144
» more on 226
at the point where the outside
H is for house
Public Space Acupuncture
An Eye for Optical Theory
In the nineteenth century, the
Building a View Finder in order
philologist Alois Riegl was
Will the object be transformed by a transfer of context?
to produce a series of Video
concerned with the exploration
When transferring the context,
Documenting the Invisible
Paintings by following a set
of how art forms mirrored there
will the object be transformed?
of rules and thus transform
period and time. He explored
The workshop that we
Several times, film transforms
an interior space whose
insignificant details such as the
implement re-examine the
architecture, or at least the
Transformation can be seen
ornamental patterns...
status of the object through
way the audience views it.
only by observing the space
Le Corbusier through the
through the View Finder which
promenade architecturale
finally has become a screen...
meets the inside... » more on 242
the shift of context. Work » more on 166
situated on the border of various artistic fields, visual arts,
started in the image sequence, which derived in the film
design, architecture, sculpture, » more on 182
concept with contemporary
RUINS
graphic...
Considering time being
projects. A common
the ultimate transformer of
» more on 108
observation in the recent history
HABITUS
everything, it is this workshop´s
of Architecture...
Is it really true that “The cowl
aim to examine certain aspects
doesn’t make the monk”? Were
of temporality in the appearance
Corbu’s spectacles merely
of the city of Antwer The many
functional or were they also a
obvious traces that the process
professional statement? Why do
of transformation has left on the
Enough is enough !
you need to ‘look good’ in order
face of the city...
More than 150 years ago Henry
to ‘feel good’ and eventually
David Thoreau, the author
‘play good’?...
» more on 234
» more on 72
of the famous essay, On the Duty of Civil Disobedience,
» more on 126
TRANS_FOR_MORE
claimed that individuals should protest against government that
The notion of the sketch
overrules their conscience. The
Helgoland
appears to be extremely
conscience, the intelligence,
Holy Land in the North Sea. Two
congruent with the idea of the
and the heart should be the
islands, Hauptinsel and Düne
transformer. The painstaking
main reason for decision
(the first rocky, the latter sandy),
process of analogue and digital
making for matters of both the
connected until the 1720 storm
sketching produces a variety
public and private realms...
surge, rise from the shallow
of intuitive and transformable
seabed of the German Bight,
lines and images, which form
reaching 61m above MSL. The
and demarcate a wealth
isolated land formation is an
of architectural thinking
exception...
«typologies»...
» more on 254
» more on 192
» more on 210
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[
COLOPHON
]
This publication is a result of the Selective Course ‘Publications’ in the first semester of the master program 2013-2014, Department Design Sciences, Section Architecture of the University of Antwerp. ADSL2012 – TRANSFORMER is one part of a six-pack publication on all Antwerp Design Seminars and Lectures events from 2008 till 2013 as organized by the Artesis University College Antwerp.
ADSL 2012 – TRANSFORMER
Graphic Design Wouter Antonissen Hakan Cakaloz Hannes Hulstaert Valérie Ruiters
Editor University of Antwerp c/o Mustaardcampus, Mutsaardstraat 31, BE-2000 Antwerp T +32 3 205 61 70 www.uantwerpen.be/nl/faculteiten/ ontwerpwetenschappen/in-de-kijker/showcasestudentenprojecten/architectuurwetenschappen/adsl/ © 2014, University of Antwerp and the authors